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Dangerous Liasons

Although Dangerous Liaisons may be best known to many from the 1980s Glenn Close adaptation or it’s more recent incarnation, Cruel Intentions, Quo Vadis’ production stands on its own two feet as a fine example of Oxford’s thespian talent. With its timeless story of intrigue, lust, and revenge, Dangerous Liaisons details the manipulations and seductions of the Marquise de Merteuil and her sparring partner, the caddish Vicomte de Valmont.  

Alexander Stewart’s Valmont alternates between a sinister whisper and an assertive roar, stalking his prey around the stage, while Emerald Fennell sparkles as the scheming Marquise, calmly controlling the ingenuous Cécile de Volanges. Although one does spend much of the play watching the actors in profile as they banter across the stage, this heightens the intimacy in the moments where they are physically close. The staging conveys the complicated dance of Parisian aristocratic society, notably emphasising Cecile’s youth and social inexperience. The exchanges between Cécile (Sophie Siem) and a tuneful Chévailer Danceny are a pleasure to watch. 

Based on an epistolatory novel, naturally the dialogue is heavily rhetorical and at times may seem artificial, but the cast rise to the challenge of pulling it off without descending into pantomime or farce. Jonathan Rhodes provides a delightful comic touch to his portrayal of Valmont’s manservant, Azolan. Reminiscent of an eighteenth century Reginald Jeeves, Azolan’s cynicism tempers Valmont’s more sinister moments.  

Promising stunning costumes, some of which were featured in the recent Kirsten Dunst film, Marie-Antoinette, and with excerpts of contemporary music by Glück, Dangerous Liaisons demonstrates attention to detail and commitment to authenticity. Sure to be even more impressive when installed in the Moser Theatre, this production should appeal to even the most dedicated admirers of Choderlos de Laclos’s literary masterpiece, or of previous adaptations of Hampton’s play. 

by Chantal Hadley

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