Les Liaisons Dangereuses

Although it’s thirty-years old, Christopher Hampton’s much-praised adaptation of Choderlos de Laclox’s epistolary novel about salacious sex games in the salons of Parisian aristocracy in 1782 still has the power to connect with a modern audience. Revenge and seduction are the key themes of the piece in a plot that has the Marquise de Mertueil challenging her former lover, the Vicomte de Valmont to seduce the convent-reared, 15-year-old Cecile. He accepts, but his real conquest in the amour stakes is to bed the religiously devout Madame de Tourvel. In accomplishing both challenges he commits the socially inappropriate sin of falling genuinely in love.

Bruce Parr’s elegant production for Villanova Players delivered Hampton’s witty text with style. John Warner as the immoral rake Valmont was a charming predator, deviously delicious in seduction, and awash with mock sincerity. His escapades on a round bed with Cecile bordered just this side of rape, while his eventual realisation that he was capable of genuine passion had a depth of horror that burned. It was a fine performance.

Fiona Kennedy’s Marquise had loads of elegance, especially in Jacqueline Kerr’s sumptuous period costumes, delivered Hampton’s feminist take on gender-equality with wry declamation, and lasciviously devoured Chevalier Danceny. It was a good performance which was only marred by her occasional searching for lines.

Matthew Malone impressed as the Chevalier, bringing youthful passion and excitement to the character, an innocent caught in the games of lust, whilst Jermia Turner embraced the deflowering of the virginal Cecile with God-possessed ecstasy.

Olivia Pinwell’s Madame de Tourvel was stoic in her refusal to be compromised but transitioned believably to simpering lover, Michelle Malawkin’s Madame de Volnages guarded her daughter’s chastity with fervent zeal, whilst Briellen Juracic stood out in her minor turn as the courtesan Emilie.

A highlight of Bruce Parr’s production was the late second-act fencing duel between Valmont and the Chevalier which was worthy of any Pirates of the Carribean movie.

Peter Pinne