Review: LES LIAISONS DANGEREUSES at Company Theatre At THE ROSE CENTRE, BELMONT

      Eloquence, Elegance and Intrigue

Company Theatre is transporting us back to the eloquence, elegance and intrigue of 18th century France. Deftly directed by Reg Williams, this is a scandalous conspiracy to play at the game of love.  How fortunate we are – the play was on in London only a few months ago! This is a polished and professional production in which Reg Williams sustains the dark comedic tone with its wicked wit and sophisticated humour. The delivery of the text is suitably cold and cynical, full of intellectual sparring,. The tone reflects the rigid social codes of the French aristocracy before the French Revolution. In fact, this play makes us more than aware of why the French aristocracy might have deserved beheading.

 Outstanding performances lead the dramatic intrigue. Superbly crafted characterisation from by the professionals Suzy Sampson as the beautiful but malicious Marquis de Merteuil and Michael Hallows as the “conspicuously charming” vain and preening Vicomte de Valmont. When these two are on stage, we are entirely engaged. The poised posture and etiquette are beautifully managed.

Former lovers and bored aristocrats, Merteuil and Valmont turn seduction into a sly, savage contest of power, manipulation and revenge. “Love and revenge – two. of your favourites – the one who sees nothing, knows nothing – just too easy.”  In the opening moments, the audience need to listen closely as the scheming, smiling libertines establish the dangerous wager that drives the plot. The play’s construction reflects its period and literary origins. Its sharp, sparkling neo-classical style reflects 18th-century French wit while staying brisk and modern. “Only flirt with those you don’t truly want.” The language is more elaborate than many contemporary audiences may be used to, with longer speeches and sophisticated grammatical patterns. Beneath the polished exchanges, the text is layered with subtext: polite social pressures conceal vicious threats, and dry irony turns seduction and ruination into a chilling, cerebral sport. ”Love is something you use – not fall into like quicksand.”

Merteuil wants to humiliate her ex-lover, the Comte de Gercourt who left her for another. She asks Valmont to corrupt Gercourt’s young, innocent bride-to-be, Cécile Volanges  (Josie Simmonds), right after she leaves the convent. But  Valmont is more interested in pursuing the deeply virtuous, married Madame de Tourvel (Rebecca Scholtz).  He says “there’s the excitement of wanting her to betray everything that is important to her.” Merteuil and Valmont make a bet: if Valmont successfully seduces Tourvel and provides written proof, Merteuil will grant him a night in her bed. 

But the plans fall victim to a range of complications. When Valmont falls in love with Tourvel, Mertueil grows jealous and spiteful. And from there it is an unravelling with duels, dramatic deaths, betrayals aplenty, malice and disgrace. Fortunately, the schemers get their just desserts.

Across the supporting cast, the performances are consistently strong Grant Zent as Chevalier Danceny, Rebecca Wrightas Madame de Volange, Lynn Webster as Madame de Rosemonde, Emily Durham as Émilie. Credibility and truth come from the way they “think, act and speak” entirely in character, adding depth to the opulent setting. The servants were scene stealers Shiv Singh as Azolan, Richard Jones as Major Domo. The director used them well as scene changers, looping and unravelling the fine white draperies. The austere set is elegant and simplified but highly effective to sustain the pace of the performance.  At times, the projection was uneven from the less experienced actors but this will have been remedied from performance.

Finally, the wardrobe (Catherine Foster, Ciara de Hora, Liesel Zentgraf) deserves particular praise. The costumes are evidence of considerable research with wide, dramatic silhouettes, shimmering silks and brocades, and lace, ruffles and ribbons that speak fluently of personality, privilege and aristocratic position. The result is not merely decorative but a sumptuous, splendid visual and beautiful feast for the eye.

The play is on for another week at The Rose Theatre, Belmont. Do get along to see it – and enjoy being transported to 18th Century France.

Recommended for audiences aged 16 years and over: This production contains mature content, including sexual manipulation and coercion, emotional abuse, and references to suicide and miscarriage.

Photography – Kathryn Nobbs.

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