‘Scintillating in every sense from its sumptuous design through to the sizzling chemistry between the cast’
Marianne Elliott’s stylish 2026 revival of Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ 1782 novel is scintillating in every sense from its sumptuous design through to the sizzling chemistry between the cast in this tale of love, lies, and social warfare.
Marquise de Merteuil (Lesley Manville) is a master in the art of survival, and alongside the magnetic Vicomte de Valmont (Aidan Turner), they are experts at turning seduction into strategy and weaponising their desires.
When she challenges him to seduce young Cécile de Volanges (Hannah van der Westhuysen), to get back at Cécile’s mother (Cat Simmons), he is happy to oblige with the assistance of his valet (Sharif Afifi) whilst using the subterfuge of helping Cécile’s paramour, Chevalier Danceny (Darragh Hand). At the same time, he is pursuing the pious Madame de Tourvel (Monica Barbaro) who is visiting his aunt (Gabrielle Drake).
But when Valmont finds himself falling in love, the best laid plans begin to backfire beyond his control…
Elliott’s innovative staging is embellished by Rosanna Vize’s striking mirrored set design reflecting the narcissism of 18th Century high society back at itself to a backdrop of images of sexual decadence. Combining period and contemporary elements, we segue between Paris and the country via countless portals through which the action unfolds.
Tom Jackson Greaves’ choreography generates a whirlwind of seduction and desire in both body and mind, with the talented ensemble and cast effecting seamless scene changes in parallel, that is both exquisite in its performance and truly mesmerising to behold. With Natalie Roar’s sumptuous satin, silk, and sequined costumes screaming excess, the ensuing picture certainly paints a thousand words.
The accompanying original compositions from Jasmin Kent Rodgman add a further layer whilst James Farncombe’s clever lighting design plays with shades of dark, light, and shadow as the brooding psychological drama unravels.
The cast perform strongly throughout with Afifi suitably opportunistic whilst Hand’s innocent love soon turns to lust. Simmons’ mother was perfectly blinkered by misguided hopes for her daughter whilst Drake’s aunt was suitably selective in what she chose to see and hear in relation to her nephew.
Fresh from the convent, van der Westhuysen was naïveté personified at the start to the accompaniment of her girlish giggles but was most definitely a Madame by the end, in an impressive performance.
Barbaro was the perfect picture of piety and purity in her virginal white buttoned-up dress, delightfully capturing the inner turmoil between innocent love and haunting shame as her world is turned upside down, literally, through superb physical interplay with the ensemble, in a standout performance.
Manville is an imperious ice queen, cooly deceiving and ruthlessly manipulating all that she surveys whilst retaining the façade of an ever-popular social butterfly, whilst Turner lays on the charming Irish brogue, affable and playful, yet persistent with his seduction techniques as he takes control of each situation for his own pleasure.
Combined, there is a powerful chemistry between the lead pair that is addictive to watch, and one can too easily forget the dissolute actions that are unfolding, and that is perhaps the most important point of the production: yes, there is rough justice meted out at the end but will we ever learn? The behaviour of Epstein and Maxwell, amongst others, in more recent times suggests not.
Review Date: 3rd July 2026
Star Rating: FIVE