Review: LES LIAISONS DANGEREUSES at The Schoolhouse Theater

Christopher Hampton’s 1985 play, Les Liaisons Dangereuses, adapted from Pierre Choderlos de Laclos’ 1782 epistolary novel, has long captivated audiences with its tale of aristocratic seduction, betrayal, and revenge. First staged by the Royal Shakespeare Company, Hampton’s version remains the most enduring, even inspiring the Oscar-winning 1988 film with Glenn Close, John Malkovich, and Michelle Pfeiffer, and the teen cult hit Cruel Intentions (1999).
De Laclos’ intentions in writing the novel are still debated. Some argue it was a satirical critique of the decadent French aristocracy on the eve of the Revolution. Others suggest he simply wanted to create a wickedly entertaining story. Either way, Hampton’s play preserves the biting wit, erotic gamesmanship, and dark morality at its core. In this production, that corruption feels chillingly alive. Set in 18th-century France, where reputations must appear spotless even as lives behind closed doors brim with scandal, the Marquise de Merteuil (Elisabeth S. Rodgers) and the Vicomte de Valmont (Patrick Zeller) lead the charge. Former lovers turned co-conspirators, they delight in corrupting the innocent: she plots revenge, he pursues seductions, and together they manipulate with ruthless precision.
Rodgers’ Merteuil is icy, commanding, and deliciously cruel, a woman who wields her intellect and beauty like weapons. Watching her encourage a sexual assault victim to return to her abuser is especially disturbing, underscoring the character’s pitiless nature. Zeller matches her with rakish charm and a sinister undercurrent, crafting a Valmont whose charisma makes his manipulations all the more dangerous. Their dark chemistry crackles and drives the evening forward.
They are backed by a strong ensemble: Elizah Knight is deeply sympathetic as the devout Madame de Tourvel, torn between faith and forbidden desire. Kate Day Magocsi is convincing as the naïve Cecile, barely out of convent school yet ensnared in webs of lust and betrayal. Max Murray is a tender Danceny, hopelessly in love and hopelessly manipulated. Lisa Ann Goldsmith is a grounded Madame de Volanges, Cecile’s principled mother. Briton Parson is warm and wise as Madame de Rosemonde.  Indiana Robinson-Dawes shines as the seductive Emilie. Ovi Vargas is delightfully sly as Valmont’s valet Azolan.

Owen Thompson’s direction is sharp and fluid, propelling the play forward with precision and relentless energy. He draws from his cast every shade of emotion and nuance.

The design team enhances the intrigue with elegance and flair: Tony Andrea’s impressive set is simple yet sumptuous in blues and golds, and beautifully painted murals by Isabelle Favette, anchored by a vanity, a chaise and a few other pieces of furniture; Nancy Nichol’s opulent period costumes dazzle with layered fabrics and intricate bodices; Brian Aldous’ incisive lighting and evocative music (Jessica Klee and Owen Thompson) complete the world. Chandelier and candlelight further the atmosphere of decadent illusion. Production Stage Manager, Kevin E. Thompson  kept all running smoothly.
Special praise goes to fight choreographer Dan O’Driscoll for crafting a heart-stopping fencing duel—an electrifying highlight of the production.

Thompson, with intimacy coordinator Lisa Ann Goldsmith, staged the coercion and assault scenes with deliberate care. They are not easy to watch—nor should they be—and the lack of nudity heightens the psychological impact. The result is a production that seduces with wit and charm while forcing us to confront its moral darkness.

Rockland / Westchester Awards - Live Stats

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