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A CurtainUp Review
Les Liaisons Dangereuses
By Elyse Sommer
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I always knew I was born to dominate your sex and avenge my own,.
—La Marquise de Merteuill to Valmont-- a sharp reminder of the social conditions that forced her sex into a form of slavery, and taking measures which in her case causes her to indulge in acts as monstrously cruel (her favorite word) as the sex that has enslaved her. Men enjoy the happiness they feel; we can only enjoy the happiness we give. So to hope to be made happy by love is a certain cause of grief.—Madame de Rosemonde |
Laura Linney and Ben Daniels
in Les Liasons Dangereuses (Photo: Joan Marcus) |
While epistolary novels still occasionally pop up on the best seller list (Alice Walker's The Color Purple is a case in point), the de Lacloss novel continues to be the genre's favorite example, even though most people are familiar with the salaciously delicious story of two diabolical sex game players through its various adaptations for stage and screen. One of the smartest of these is Christopher Hampton's playscript, which was a hit in London and on Broadway (in 1987) with Lindsay Duncan and Alan Rickman. It gained still wider circulation as a film starring Glenn Close and John Malkovich as the predatory aristocrats and Michelle Pfeiffer and Uma Thurman as their preys. Now, Hampton's play is back under the auspices of the Roundabout Theater— an elegant production aptly housed in the beautiful American Airlines Theater.
If you go to see this revival without being fixated on comparisons with other actors' portrayals or director Rufus Norris's misconceived staging of Festen, you'll find this an absorbing two and a half hours. Ignore also pronouncements about Laura Linney being miscast as the Marquise de Merteuil. She not only looks exquisite in Katrina Lindsay's gowns and Paul Huntley's sculpted wig (Lindsay and Huntley do equally good work for the rest of the cast) but fully commands our attention.
The icy veneer of Linney's Marquise is atypical of the roles we associate with her, but she does icy very well indeed. She moves across a stage like a human glacier. Yet she shows just enough of the darker passions beneath that frigid exterior —the still seething but unacknowledged passion for the former lover now her partner in the dangerous game of destroying innocence and the bitterness of a woman whose only defense against male chauvinism has been to reinvent herself as a vengeful powerhouse. Linney's tightly reigned performance is fascinating to watch and highlights the feminist aspects of this sexy villainess.
While the Marquise plays the role of the instigator in the sexual power play, the juicer role is that of Le Vicompte de Valmont, her all-too willing partner in the destructive sexual games that fascinate us even as they repel. British actor Ben Daniel squeezes every drop of juice from the nasty seducer.
Valmont initially rejects the Marquise's plan to seduce Cécile (Mamie Gummer), a young convent girl who, to the Marquise's displeasure, has been affianced to one of her own lovers as too easy ("She'd be on her back before you'd unwrapped the first bunch of flowers"). However, he agrees when he sees a chance for a double seduction when he meets de Tourvel (Jessica Collins), a solidly married woman. La Presidente de Tourvel not only presents more of a challenge but ends up, to no one's surprise, being the cause of Valmont's comeuppance and the frivolous game turning into a deadly battle.
This production is definitely x-rated and geared towards bringing out the humor in the play without sacrificing deviousness of Merteuil's and Valmont's schemes. The humor illustrates Hampton's sexual puns quite amusingly, especially in one of several simulated sex scenes that has Valmont describe his seduction of Cécile ("I found her very open to persuasion") using the back of a prostitute (Rosie Benton making the most of a minor role) as his letter writing desk ("I have just come come to my desk". . .) Director Norris uses an unnecessarily broad comic stroke by having Valmont make a grab for every female servant who crosses his path. On the other hand Mamie Gummer is delightfully amusing as the frightened maiden transformed into eager sex kitten.
The rest of the cast is something of a mixed bag. Jessica Collins' is a pretty de Tourvel, but somewhat too bland to make Valmont's finally getting in touch with his true feelings totally convincing. Also more bland than dashing is Benjamin Walker as the Chevalier Danceny, the young man Cëcile loves and whom the Marquise takes as her latest lover. Kristine Nielson brings her typically somewhat ditzy persona to the role of Cecile's mother. On the other hand Sián Phillips is so outstanding as Valmont's wise in the ways of the world aunt that one wishes she had more to do.
Scott Pask has created a glittery, dark rococo world of drawing rooms and boudoirs, where servants stand ever ready to serve. A black mirrored rear wall and heavy draperies are used with stunning effectiveness that's further enhanced by Donald Holder's lighting.
The most exciting stage scene comes after Valmont retracts his rejection of de Tourvel cuasing the Marquisein to declare all out war leading to a duel to the death between Valmont and Danceny. As blood spreads across Valmont's chest, the Marquise comes on stage in a blood-red gown. Rick Sordelet deserves a special award for his brilliant choreography.
Though, contrary to the novel which has the Marquise disgraced and disfigured by smallpox as well as disgraced, Linney's Marquise exits the stage beautiful and controlled as ever. Yet her self-invented persona is evidently shattered and the only game she will be playing is the card game that begins and ends the play.
Perhaps the directorial twist of having the servants occasionally sing was inspired by the operatic quality of this intriguing tale. While it seems an unnecessary fillip here, it did make me wonder why an original musical version called The Game, produced at Barrington Stage never made it to New York.
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LES LIAISONS DANGEREUSES Christopher Hampton's play based on the novel by Choderlos de Laclos Directed by Rufus Norris Cast: Laura Linney (La Marquise de Merteuil), Ben Daniels (Le Vicomte de Valmont), Sian Phillips (Madame de Rosemonde), Jessica Collins (La Presidente de Tourvel), Mamie Gummer (Cécile Volanges), Kristine Nielsen (Madame de Volanges), Benjamin Walker (Le Chevalier Danceny), Rosie Benton (Émilie), Derek Cecil (Azolan), Kevin Duda (Footman/Tenor), Tim McGeever (Major-domo), Jane Pfitsch (Maid/Soprano), Nicole Orth-Pallavicini and Delphi Harrington (Servants). Sets: Scott Pask Costumes: Katrina Lindsay Lights: Donald Holder Sound: Paul Arditti Hair and wigs: Paul Huntley Voice and speech coach: Deborah Hecht Ffight direction: Rick Sordelet Stage manager: Arthur Gaffin. Running Time: 2 hours and 40 minutes with intermission Roundabout at American Airlines Theatre, 227 West 42 Street (212) 719-1300, roundabouttheatre.org From 4/11/08; opening 5/01/08; closing 6/29/08. Tuesday through Saturday evenings at 8:00PM with a Wednesday, Saturday and Sunday matinee at 2:00PM. Reviewed by Elyse Sommer at May 3, 2008 matinee |
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