Les Liaisons Dangereuses at The Donmar

I know I shouldn’t make a comparison, but feel the need because the original production of Christopher Hampton’s adaptation of Choderlos de Laclos’s 1782 novel made such an impression.  Whilst this latest offering at The Donmar is excellent, it doesn’t exert the same menace or sexual frisson as that given off by Alan Rickman and Lindsay Duncan in the mid eighties.

A drama of revenge using sex as the weapon still has the power to shock.  The main perpetrators are La Marquise de Merteuil and her ex-lover, Le Vicomte de Valmont.  Hell hath no fury like a woman scorned was as true then as it is now, with the Marquise instigating the whole sordid plan.  Because La Marquise was thrown to one side by the future fiancée of the ingenue, Cecile Volanges, she aims to get her own back by challenging Valmont to seduce the young virgin.  He easily completes this task, as well as undertaking another for his own benefit. His prime target in this instance is Madame de Tourvel.  The problem is that he hasn’t taken into account that he might actually fall in love with the married lady in the process.  This is bad news for him and La Marquise, who still holds a very bright torch for her partner in crime. 

Tom Scutt’s design suggests a chateau in a state of flux.  The set contains the trappings of wealth but one in desperate need of a make-over.  The walls are scuffed and have paintings leaning against them rather than hung.  It suggests impermanence; what was, is, or soon will be …. gone.  This is affecting.  What is not is the covering of all the furnishings by what appears to be white muslin, but turns out to be some type of plastic.  It works as a covering for the sleeping Cecile but is very disconcerting when the actors have to wade through it.

In my opinion, the evening belongs to Janet McTeer as the controlling Marquise.  Statuesque and languidly elegant in pale grey satin, her flashing eyes prove a window into her soul.  They reflect her initial scheming and final loss, when we realise that this manipulative, supposedly strong woman, is actually truly vulnerable.

Dominic West isn’t (or certainly wasn’t when I saw the play) quite so at ease in his role as Valmont, at least until he succumbs to love in the Second Act.  Whether this is due to him being unsure of his lines, or miscast, I’m not sure, but I hope this excellent actor becomes more sexually predatory as the run progresses.  Maybe it’s the spectre of the sinuous Alan Rickman that’s the problem.  I hope so as Mr. West is undoubtedly one of our great actors who is more than capable of highlighting his steamy side (as shown in the US TV show The Affair).

Elaine Cassidy is an incredibly brittle Madame de Tourvel, but perfectly portrays the terror she feels at eventually surrendering to her sexual desires.   Her melt down in Valmont’s arms is alarming to watch.  I can’t help but wonder how Michelle Docherty would have fared in the role.