“A production that is all sparkle with no soul. One-dimensional characters abound in convoluted and confusing relationships.”
The danger is lacking in Stratford’s production of Dangerous Liaisons. Despite talented performers, gorgeous period costumes, and colorful furnishings, the show fails to stay afloat due to uninspired direction, underplayed characters, and a lack of connection. The result is a plot that’s hard to follow and, frankly, falls flat— A rare misstep for the Festival.
Part of the problem may lie in Christopher Hampton’s stuffy dialogue. It’s an esoteric world of privileged French aristocrats who manipulate and delight in the emotional destruction of others for their own sensual satisfaction. Revenge is sought, reputations are ruined, and the innocent suffer collateral damage in the cruel games of the powerful. That’s about it. Characters are difficult to relate to, let alone care about.
But it doesn’t have to be that way. Lavish visuals can only take a production so far. It’s the director’s job to breathe life into the characters and make their twisted relationships compelling. Strong lead performances and deeper emotional investment would make the story resonate more. As it stands, this version fails to convey to the audience why any of it matters.
Set in the 18th century, Dangerous Liaisons follows the manipulative and decadent aristocrat Marquise de Merteuil (Jessica B.Hill) and the charming but ruthless Vicomte de Valmont (Jesse Gervais). The Marquise challenges Valmont to seduce the virtuous Madame de Tourvel (Celia Aloma) as a way to exact revenge on her ex-lover. At the same time, Valmont simultaneously pursues the young and innocent Cécile de Volanges (Ashley Dingwell) for his own pleasure. As the characters weave lies, betrayals, and schemes, their manipulations spiral out of control, exposing the dark consequences of deceit, lust, and power games.
This material demands a dynamic and complex relationship between Merteuil and Valmont, as they are plotting ex-lovers with dubious intent for each other. Unfortunately, this relationship wasn’t always believable. Jessica B. Hill and Jesse Gervais flawlessly recite a massive line load, but what’s missing between them are the subtle glances, the charged pauses, the unspoken power struggles. Director Esther Jun needs to mine stronger chemistry and emotional depth between Merteuil, Valmont, and Madame Tourvel. With that foundation, the more convoluted parts of the plot might feel intriguing rather than simply confusing.
Ironically, the ensemble of servants, maids, and footmen provided more interest and delight. During scene changes, a young maid runs off with an excited footman, and a housemaid slyly downs a glass of champagne as she clears the previous scene — small moments that sparked more life and personality than much of the main action.
A.W. Nadine Grant’s 18th-century costumes and Camesha Johnson’s wigs are gloriously opulent. The colours are playful and bright; textures and patterns are luxuriously ostentatious. Jessica B. Hill as Merteuil sports some of the finest hats and headwear I’ve seen for this period, while Jesse Gervais as Valmont struts in equally extravagant pieces — including a glittery blue suit that’s both gaudy and irresistibly fun. If only the performances matched the visual splendour!
Teresa Przybylski’s set is sparse, featuring only a few sticks of colourful neoclassical furniture, each carefully coordinated with the costume palette. An assortment of foggy mirrored panels glide about the stage to create entrances and exits, but their rough, slightly unkempt appearance clashes with the otherwise polished visual aesthetic. The result feels oddly mismatched — elegant costumes set against a backdrop that doesn’t quite share their refinement.
Composer and sound designer Richard Feren’s original incidental music is appropriately Baroque, helping set the tone. However, the opening and some transitions feature harpsichord passages that land a bit too dissonant and heavy-handed — more distracting than atmospheric at times.
Ultimately, this production, though visually rich, is emotionally hollow. The actors, though undoubtedly capable, didn’t bring enough nuance to their roles. The script and direction made things feel uniformly flat and at times tedious. Director Jun writes in her program notes that the show is “a razor blade wrapped in silk.” This dull blade doesn’t cut deep enough through the flashy visuals and fails to fully spin the web of deceit and moral ambiguity that this play and its characters should be known for.
Running time: Approx. 2 hours, 45 minutes with one intermission
The production runs until October 25 at the Festival Theatre, 55 Queen St., Stratford
For tickets, call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca
The Stratford Festival Presents
“Dangerous Liaisons” by Christopher Hampton
Directed by Esther Ju
Set Designer – Teresa Przybylski
Costume Designer – A.W. Nadine Grant
Lighting Designer – Arun Srinivasan
Composer and Sound Designer – Richard Feren
Cast: Celia Aloma, Jesse Gervais, Jessica B. Hill, Ashley Dingwell, Thomas Duplessie, Sara Farb, Seana McKenna and other members of the ensemble
