Spoilt, rich people whose sole occupation is scheming to destroy the lives of the naïve and gullible. No, this is not a dramatised version of the Epstein files. Pierre Choderlos de Laclos’ eighteenth-century epistolary novel, depicting amoral aristocrats on the brink of the French Revolution, has inspired many incarnations, yet it continues to shock and, at times, to delight. Christopher Hampton’s stage adaptation, first presented in 1985, streamlines the narrative, focusing on the rivalry and tangled emotional connection between the two master manipulators: the Marquise de Merteuil, played by Lesley Manville, and the Vicomte de Valmont, portrayed by Aidan Turner. Together they engage in a vicious game, with Valmont attempting to seduce both the innocent Cécile de Volanges and the devout Madame de Tourvel. It is wickedly entertaining material, and it proves just as intriguing in this context as it does in the well-known teen film, Cruel Intentions. There are, however, some issues with this production. The sense of period is uncertain. Costumes and hairstyles gesture towards the eighteenth century but extend into the present day, creating a mélange that distracts from the drama. Similarly, the inserted dance sequences disrupt rather than enhance the tension. While they may be intended to suggest the elaborate social choreography of a society underpinned by repressed psychological tensions, in practice they feel like interruptions that dissipate momentum. Lesley Manville, however, is superb as the malevolent Marquise. Her performance is controlled, incisive, and quietly devastating. She captures both the character’s icy intellect and the emotional wounds that drive her manipulations, revealing flashes of vulnerability beneath the polished surface. She manages to draw the audience into Merteuil’s intricate web of calculation and desire. By contrast, Aidan Turner’s Valmont can appear somewhat one-dimensional. His portrayal leans too heavily into overt sleaziness, making it difficult to believe that his victims would fall under his spell; the essential charm and feigned guilelessness of his masquerade are not fully realised. Even so, this incarnation of Laclos’ masterpiece retains considerable power. The strength of the original material continues to shine through, and despite shortcomings, the production offers a vivid and often gripping exploration of manipulation, desire, and moral decay. At its best, it reminds us why this story has endured and why it still has the capacity to unsettle and captivate modern audiences.
Rated: ★★★
Reviewed by J.C.
Photo by Sarah Lee
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