Follow him on Twitter, Facebook, and Instagram at roodeloo. Matthew Wexler is The Broadway Blog’s editor. In modern times, you might hover over its image for a few fleeting seconds, but eventually swipe left, looking for the next potential lover to strike your fancy. While there’s plenty to find attractive in Les Liaisons Dangereuses, it’s ultimately an unfinished canvas (literally represented by the set dressing, which includes scattered portraits throughout). In her Broadway debut, Sørensen beautifully captures love’s unruly nature and provides a pure-souled counterpart to the deceptions at hand. “Love is something you use, not something you fall into, like a quicksand, don’t you remember? It’s like medicine, you use it as a lubricant to nature.”Īs the testosterone-driven Valmont, Schreiber’s understated performance is mostly in first gear, and while he puts the pedal to the floor in a few key moments (the staging of Cécile’s bedroom seduction is delightful), his 18 th century posturing could use some unhinging. As the manipulative Merteuil, McTeer is downright juicy in her interpretation of the text, keeping her true feelings for Valmont simmering under the surface and using witty repartee to her advantage: It’s difficult to ascertain what’s awry in this mostly tepid production-it’s like going on a date with someone who checks all the boxes but with whom you find no spark. But then something unexpected happens: love gets in the way.īirgitte Hjort Sørensen and Liev Schreiber in ‘Les Liaisons Dangereuses.’ (Photo: Joan Marcus via The Broadway Blog.) The pair agrees that if both tasks are accomplished, Merteuil will relent to one last evening of debauchery with Valmont. But Valmont has his eyes set on Madame de Tourvel (Birgitte Hjort Sørensen) as the ultimate conquest. Set in various salons and bedrooms throughout Paris and the countryside in the early 1780s, Merteuil and Valmont conspire to corrupt various virtuous women for their own gain: Merteuil wants Valmont’s aid in deflowering the young Cécile Volanges (Elena Kampouris), who has been betrothed to Merteuil’s ex-lover. (His costumes, limited though they are, offer a glimmer of what the physical production could have aspired to.) This Les Liaisons Dangereuses is lean instead of lush, staged on a single set that’s dressed (or undressed, as the case may be) by an ensemble of operatic chambermaids.
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I wish someone, maybe a French director as has been suggested, would make the definitive version.Perhaps one of the greatest trickeries in the current Broadway revival of Les Liaisons Dangereuses, is not the drawing room antics of La Marquise de Merteuil (Janet McTeer) or her lover/nemesis Le Vicomte de Valmont (Liev Schreiber), but the Playbill cover, which shows the pair in an elicit embrace, promising theatrical fireworks that just might enflame the Booth Theatre.Īlas, while the pair is adept at cutting wordplay, Christopher Hampton’s 1987 stage adaptation of the book by the same name is full of witty one-liners but must rely on full-throttle staging to lift it off the page.ĭirector Josie Rourke’s production, which originated at London’s Donmar Warehouse, is modestly successful, with no help from a dreary, dilapidated set by Tom Scutt. Close and Malkovich were not beautiful enough, and Firth and Bening were not wicked enough, to make the plot believable.
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The other defect of the movie versions was the casting granted that all the actors in both films were good actors, except of course Reeves, but they simply were not believable in their roles. It is necessary to read the chilling conclusion of the novel, in which both the lead characters are much more wicked than in the films, to appreciate Laclos' criticism of the prevailing morality, or lack of it, among the privileged aristocracy of his day. The journey to Lord of the Dance began with Michael Flatley’s dream to. Here you can find the latest Lord of the Dance tour dates and direct links to purchase Lord of the Dance tickets and official merchandise.Meet some of our Irish dancers and get the latest Lord of the Dance news and videos. I saw both "Dangerous Liaisons" and "Valmont" long before I read the original French novel, and now I understand why both movies left me feeling that something was missing, that the stories were lame, even though they were both good movies if one likes period pieces. Once you experience Lord of the Dance, you will never settle for anything less in Irish dancing.
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