Jessie McQueen and Devin Bell in Dangerous Liaisons | Photo by Moriah Campbell
“Love is something you use, not something you fall into.”
When La Marquise de Merteuil (Jessie McQueen) makes this provocative statement, rife with varied intention, it is at once flippant, scolding, and an affirmation. La Vicomte de Valmont (Devin Bell) seems to have made himself too vulnerable to authentic emotion and such folly could ruin their game. A theatrical adaptation of Pierre Choderlos de Laclos’ epistolary novel, Christopher Hampton’s Dangerous Liaisons tracks a series of increasingly high stakes seductions amongst this pair of 18th century French nobles. Their lecherous and strategized cruelty makes for delicious drama. Wren Theatre’s production, handsomely staged in the simultaneously intimate and cavernous Annex Theatre, has abundant texture for all the senses.
Director Tatum Lee makes full and persuasive use of the venue with its multiple entryways and stairs converging on a central thrust stage. The playing area itself has a certain classic elegance which Serhat Dogantekin’s set dressing embellishes with clever decorative enhancements. Period opulence is conveyed by way of some well-chosen Rococo flourishes—art, drapery, an ornate chaise lounge—and the lavish costumes, of course. Even without the mist which descends occasionally, the atmosphere is thick. Liam Cardinell’s warm lighting coats scenes in a painterly veneer. His sound design, featuring a selection of moody classical pieces, completes the stylized ambiance and intrigue.
Though I did eventually adjust to the amplified voices, I was somewhat distracted, and certainly baffled, by the choice to have the actors miked in such a small venue. The necessity isn’t obvious to me. Greater control of the sound mix, perhaps, which does have an integrated, cinematic quality.
Arrogant and self-serving, Merteuil and Valmont are inherently unlikable. We invest in them, though, revel in their scheming because they are so outrageously alluring. We bask in the vicarious pleasure of their unhinged decadence. The story also slyly affords them some humanity. Valmont becomes genuinely smitten and is, eventually, compelled to noble action. Merteuil has the advantage of being the more emotionally and psychologically well-defined of the pair, her devious instincts having been honed by years of social conditioning—the consistent reinforcement that her place as a woman is precarious, subject to the whims of men. She wields her power as an assertion of limited agency.
Bell plays up Valmont’s smarmy facade respectably; his whole demeanour has a consistent, coaxing musicality that did make it somewhat difficult to properly register his sincerity when it finally surfaces. McQueen’s Merteuil feels more nuanced, placing her as the focus of both our ire and sympathy. The way the lighting succumbs to the theatrical contrivance of a spotlight only for her reinforces the narrative favouring of her perspective.
Tourvel, the main object of Valmont’s treachery, is a touching portrait of a woman’s generous nature collapsing into ruination. Lizette Mynhardt finds a quietly stirring balance between stoic poise and abject fragility. The transformation of her face—from disdain to admiration, love to despair—provides plenty of charm and heartbreak.
The rambunctious and affectionate Cécile Volanges, is really still a child when she figures into Merteuil and Valmont’s lurid plans, is brought to vivacious life by Katelyn Doyle. I especially loved a scene in which, having grown accustomed to the sexual attentions of an older man, throws herself giddily into the fray.
Le Chevalier Danceny, Cécil’s music tutor—and overeager, secret suitor—is also caught up in the games. Lucas Blakely’s performance is a choice. He’s bursting with goofy charisma, but his awkward, earnest bounding about is a tad overplayed, especially this strange way he keeps his hands aloft. In his duel with Valmont late in the play, he seems like an entirely different, more grounded person. His experience as Merteuil’s plaything—she takes him as a lover to spite Valmont—is meant to have had some darkening impact, though this isn’t developed well.
The rest of the ensemble (Shannon Pitre, Anne Shepherd, Trevor Ketcheson, Amanda D’Souza and Lizzie Moffatt) offer suitably evocative, distinctive supporting personae. Moffatt in particular really tickled me in her turn as Èmile, a feisty and playful courtesan. All align themselves around the central spectacle of Valmont and Merteuil (Bell and McQueen with their palpable chemistry)—whose former love never quite died, just evolved into this grotesque, toxic contest.
There is some sense of contempt from the surrounding characters when Merteuil’s scheming—which has lead to two deaths—is revealed, but her fate in the play is a little lacking in urgency. The eerie sound of the guillotine places her downfall in a broader historical context—revolution is about to take this whole world from her. But I’ve always been more fond of the ending Hampton devised for the film—the public shame of being booed at the opera just hits with a little more immediacy.
All things considered, this a solid production of a juicy play. It’s great fun to watch people being nasty with fancy words and even fancier outfits.
Dangerous Liaisons
running May 27 to June 7, 2025
Annex Theatre (736 Bathurst Street)
running time: 2 hours, 30 minutes (with intermission)
Lizette Mynhardt and Devin Bell in Dangerous Liaisons | Photo by Moriah Campbell