Review: LES LIAISONS DANGEREUSES, Starring Lesley Manville & Aiden Turner

Pierre Choderlos de Laclos’s scandalous 1782 novel, Les Liaisons Dangereuses, has received several adaptations over the years. None more resonant than Christopher Hampton’s 1985 reinvention which is now revived and updated in a masterful manner by Marianne Elliot at the National Theatre.

Bored French aristocrats and former lovers the Vicomte de Valmont and the Marquise de Merteuil amuse themselves by toying with the emotions and morals of others. Valmont challenges himself to bed both the notoriously virtuous married Madame de Tourvel, and the innocent 16-year-old Cécile, but becomes undone by falling in love. Patriarchy rules-was it ever thus? But Hampton adds in a strong feminine dynamic with Merteuil, who is more than a match for Valmont's amorality.

Valmont and the Marquise have the power and money to do as they please; killing time by ruining women's lives and reputations. You cannot help but see this casual attitude to sex, cruelty and abuse among the wealthy having huge echoes of the vile behaviour of certain members of the wealthy and elite today.

Hampton has recognised this and made some important changes to the original script. Cécile is now 16 rather than 15 and given more agency, as she later transforms from victim to predator herself by the end, rather than having little role in the second half of the play. It's a compelling reminder of how the cycle of abuse can continue. 

Hot on the heels of her barnstorming performance in Robert Ike's Oedipus in the West End and on Broadway, Lesley Manville appeared in the original 1985 RSC production as Cécile, returning here as the icily tough Marquise de Merteuil. Manville is magnificent and really gets her teeth into the woman who is both cruel and highly manipulative, but also keenly senses her own fading youth and allure. Now, amazingly, 70 years old, Manville's age adds to her fear of losing agency, with an astute scene after the interval where both she and Cécile strip to their underwear, exposed in front of the multiple mirrors on stage.

Aidan Turner, last seen in the West End in the quirky Lemons Lemons Lemons Lemons Lemons back in 2023, treads a fine line between a flirtatious lothario and a darkly sinister rake as Valmont. Keeping his own Irish accent seems to add to his charm and persuasiveness, which is slightly problematic, as it lessens the character's biting cruelty. However, the chemistry between him and Manville crackles with authenticity; both palpable and powerful, treading that ever-fine line between love and hate.

Hannah van der Westhuysen is a beguiling Cécile, just giggly enough to convey initial naivety, gradually blooming in sexual confidence as her corruption develops. Monica Barbaro has less to work with as the proudly virtuous Madame de Tourvel, but is totally convincing as a woman utterly tortured and shamed by both her feelings and actions.

Marianne Elliot maintains a certain froideur throughout the production; the ensemble silently observe many of the indiscretions, often enabling them by providing beds and chairs that are whipped around with elegant efficiency. We may chuckle at the sharply clever ripostes in the script, but we are constantly made aware of the innate cruelty and duplicity of the characters. This is aided in no small part by Rosanna Vize's stripped-back set which surrounds the stage with moving mirrors. These deftly pick up on the innate vanity of many of the characters, but also mean the audience can see ourselves as observers. Are we complicit? It's an interesting additional angle to consider.

Movement is a huge part of the production, with Tom Jackson Greaves's balletic choreography enhancing several nightmareish scenes that sweep various characters deep into their own fears. Jasmine Kent Rodgman's gorgeous musical composition adds a period feel, but also huge emotional drama to the dance sequences.

Questions may be asked about reviving this play in a post-#MeToo world, but this is not a production that celebrates the sexual preditor nor is titillating in any way. No one wins in this world, no matter how rich or elevated.

Les Liaisons Dangereuses is at the National Theatre until 6 June and available in cinemas from 25 June via NT Live

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