28 January 2016
Les Liaisons Dangereuses
The Donmar Warehouse
reviewed by Adam McCormack
For the best in theatre go to the cinema. This is not a facetious comment, or in any way an attempt to discourage anyone lucky enough to get tickets to see Josie Rourke’s excellent new production of Les Liaisons Dangereuses at the Donmar Warehouse. The Donmar seats just 250 people and, not surprisingly given the quality of the cast, this production has long been sold out, but all is not lost for genuine theatre lovers as, in conjunction with the National Theatre, the play will be shown live in cinemas on 28th January – hopefully you are opening The Shaw Sheet on its release date and are doing nothing better this evening!
Why should you see it? The story of the devious machinations of 2 sociopaths is told with great wit and pathos in Christopher Hampton’s translation, and it is his dialogue that remains the real triumph of this production. This play is a very successful combination of farce and tragedy and well worth reviving with such a stellar cast. The story may be familiar to those that have seen the 1988 Stephen Frears film adaptation (I had not) – Madame de Merteuil wants her former lover, Valmont, to deflower a young convent girl, Cecile de Volanges, while he has set himself a greater challenge to seduce a virtuous married woman, Madame de Tourvel. Driven by erotic promise, Valmont decides to attempt both. I am loathe to put out spoilers, but the tale of the two seductions and the denouement is the perfect vehicle for great theatre.
Dominic West plays Valmont as less Machiavellian and more plain lusty than perhaps some would prefer, but it is a strong performance nonetheless, and his “seduction” of Cecile is difficult to watch in such an intimate theatre as the Donmar. Janet McTeer is tremendous as Madame de Merteuil and must surely be a strong candidate for an Olivier award. It is difficult to be critical of any of the performances, with Elaine Cassidy convincing as an ice maiden who melts under the intensity of Valmont’s charms and Una Stubbs demonstrating why she deserves “National Treasure” status. As ever, the sets at the Donmar are both brilliant and effective, and the addition of ethereal singing from some members of the cast during scene changes adds to the overall effect of decadence and moral decay.
For those who do not open the Shaw Sheet as promptly as they might, the Donmar does release a small number of tickets on the day – but I would recommend queueing early!
