Venue: Frederic Wood Theatre, UBC
Dates: January 23 - February 2, 2002
Reviewer: Jane Penistan
Upper class society in eighteenth century France, if
one can believe Chonderlos de Laclos, was not congenial and friendly.
Rather it was hard and vicious. Christopher Hampton has made a
perceptive, black humoured comedy of manners and intrigue from this
novel.
In a beautiful set and lavishly costumed, the haut monde of Les
Liaisons Dangereuses devise their cruel deceptions and defamations
on the Frederic Wood stage. Their devious games of one-upmanship are
played out against a Fragonard-like framed picture backdrop, on a
bordered two-level stage, to the accompaniment of delightful
harpsichord and piano music. This background music links the many
short scenes, which comprise the play, and progresses in complexity
as the intrigues become more and more, tangled.
Director Fran Gebhard has made sure that her actors wear their
elaborate costumes as if they were accustomed to them - the ladies
managing their vast skirts and fans with grace and aplomb. She has
also used the small forestage to good effect as a promenade for her
characters during the many brief scene changes, the choreography of
which was always clean, well-drilled, and uncluttered.
The cast of this production has mature experienced actors performing
with theatre students. This removes the difficulty of having youthful
actors endeavouring to appear as parents to their contemporaries - a
problem all too common in student presentations. Here, the middle-aged
world-weary Marquise de Merteuil (Jennifer Clement) and Le Vicomte de
Valmont (Scott Bellis) are obviously older than the young men and
women portrayed by the students.
Joan Bryans' Madame de Rosemonde, elderly aunt to Valmont, is the wise
and worldly senior citizen, the one sympathetic character among the
adults. The presence on stage of these actors gives a sense of
security to the less experienced cast members, and lifts the standard
of performance.
As La Marquise de Merteuil, Jennifer Clements is an assured woman with
no morals, but with a great love of power, manipulating those around
her to her own scheme of things. She does not expect to be disobeyed
by anyone, especially one of her lovers. Jennifer Clements plays with
poise, grace and authority. She is never anything other than a very
well mannered, aristocratic lady.
Naomi Wright, in an outrageous red wig, is the anxious mother trying
to launch her daughter into high society without the advantage of a
husband to guide her. She is out of her own league in Merteuil's salon,
a fact that her daughter Cecile recognizes, though she does not
understand Merteuil's games.
Scott Bellis, as the Vicomte de Valmont, does not have all the false
charm of the dangerous seducer of women and the blackener of
reputations. He is not as believably evil as described by the other
characters and his own lines. Nevertheless, he enjoys the mischief of
plotting scenes and successfully "educating" the innocent Cecile
Volanges (Katie Murphy). His triumph in destroying the fidelity of La
Presidente de Tourvel (Sharmin Mackay) lacks the pleasure he
anticipates, because he is already really beginning to respect this
lady, but is too proud to admit it.
These scenes are very well managed. Katie Murphy's horror at her
seduction and her later enjoyment of being the darling of an
experienced rogue are delightful. Sharmin Mackay's lovelorn,
grief-stricken and guilt-ridden Tourvel is a convincing performance.
This is a difficult role for a novice actor, but Sharmin Mackay brings
it off admirably.
Emilie, the courtesan, played by Jessica Clements, has a real sense of
fun and enjoyment. Her scenes with Scott Bellis are delicious. As Le
Chevalier de Danceny, Ryan Smith is a youth flattered by the attention
of an older woman, but is still besotted by his no longer innocent
Cecile. He grows up rapidly in the duel scene. One feels all will
ultimately be well with this young man.
Ryan Egan, Azolan, is a worthy servant to Valmont, giving him good
advice and always there to do his master's bidding; a nice little
cameo. The footmen and maids are kept busy throughout the evening, as
well-trained servants, or bustling about doing the quick scene changes
with such speed and dexterity that the play never loses pace or
becomes tedious.
This production is of a high standard. It would make for an enjoyable
entertainment if only the principal characters were not so unlikable.
But that is the nature of the play and one must admit that power
seeking, people manipulation and one-upmanship are ever with us.
Christopher Hampton has infused this black comedy with much witty
dialogue and given the cast interesting complex roles. Les Liaisons
Dangereuses is a worthwhile evening at the theatre.
© 2002, Jane Penistan