Dangerous Liaisons

Queensland Ballet started their 2019 season with Liam Scarlett’s marvellously erotic Dangerous Liaisons. Opening with a funeral and the widow being sexually comforted by her lover on the coffin, and featuring an explicit orgy of sexual games, this world premiere is probably the hottest and raunchiest show we’ll see in Brisbane this year.

Based on the 1782 epistolary novel by Choderlos de Laclos, and set amongst the aristocracy in pre-revolutionary France, it’s an immoral tale of two former lovers, the wealthy widow Marquise Isabelle de Marteuil (Laura Hildago), and Vicomte Sebastien de Valmont (Alexander Idaszak) and their games of seduction and revenge amongst their social circle who they manipulate for their own amusement. For one night in her bed again, Valmont enters into a bet with Merteuil for him to seduce the virtuous Cecile (Yanela Pinera), compromising her engagement to Comte de Gercourt (Jack Lister).

A co-production between Texas Ballet Theatre and the Queensland Ballet, this new narrative work by Scarlett is overwhelmingly exciting. The original novel has been brilliantly condensed by him to a series of spectacular pas de duex and a gorgeous waltz played out in Tracy Grant Lord’s ravishing period costumes and effective design of panels that moved and revealed the nooks and crannies of multiple salons aided by Kendall Smith’s evocative lighting. It was no leap to think we were back in the Palace of Versailles.

Hidalgo and Idaszak were masterful as the two former lovers, with their final pas de deux breathtaking as he tossed and threw her in the air in a series of impossible lifts simulating wild and vicious sex coupled with sinuous movements that astonished in their athleticism. Idaszak was a magnetic force, whether preening like a male peacock, being devilishly amusing, or passionately biting his lover’s lip, but Hildago provided the pathos. Imperious and scheming her final downfall was incredibly moving.

Rian Thompson displayed enormous youthful yearning as the music tutor Dancey. His scene with Pinera’s Cecile at the piano as they played together the opening notes of one of Saint-Saens themes was exquisitely tender as was their inventive pas de deux. Lucy Green’s Madame de Tourvel bristled with self-possessiveness, but it was Kohei Iwamoto’s valet Azolan that was the twinkle amongst these degenerates. Dancing with poise and assurance he captivated as he became the postman for the love letters.

The final accolades in this incredible night of dance must go to Martin Yates and his arrangements of Camille Saint-Saens’ mostly unfamiliar music. It had the broad sweep of traditional ballet scores, but also with its use of piano (expertly played by Roger Longjie Cui) an extra dimension of beauty. Dynamically performed by Camerata under Nigel Gaynor’s baton, it created the tonal palette for this astonishing ballet.

Scarlett’s work is no stranger to Queensland Ballet. They previously performed his A Midsummer Night’s Dream and The Firebird, two very fine and arresting story ballets. Now with Dangerous Liaisons a third can be added to his impressive resume. He has created a two-act classical ballet that is original, highly demanding choreographically, and sexy. Queensland Ballet did him proud. If any proof were needed that they’re more than just a state company, Dangerous Liaisons proved it in spades. Welcome to the big league!

Peter Pinne            

Photographer: David Kelly