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Les Liaisons Dangereuses

 
Paul T. Davies Review by Paul T. Davies 4 Published: 2 Apr 2026 Lyttelton Theatre Show Dates: 21 Mar 2026-6 Jun 2026

Christopher Hampton’s Les Liaisons Dangereuses arrives at the National Theatre in a lavish new production with a cast and creative team of esteemed pedigree.

A grand design and an abundance of movement and choreography, and some sublime acting in this uneven production

The rivalries and the manipulations of the idle rich in France in 1782, as depicted in Pierre Choderlos de Laclos’s epistolary novel, require an intimacy and closeness, and the challenges of staging it in the large Lyttelton Theatre are met with a grand design and an abundance of movement and choreography combined with some sublime acting.

Rosanna Vize’s exquisite set mirrors the audience, with an excellent ensemble of servants moving rooms and walls into place, with a huge chandelier hanging over them, a globe full of gossip and manipulation. Choreography by Tom Jackson Greaves brings great style, and I particularly enjoyed the army of servants, the men in black, prowling, smoking and eavesdropping on their masters and mistresses.

Leading that sublime acting is Lesley Manville as the Marquise de Merteuil, a woman whose favourite word isn’t “revenge” but “cruelty”. She foregrounds her ability to portray cool, calculating characters, and is utterly convincing in her enjoyment of the havoc she wreaks in conniving with the Vicomte de Valmont to destroy lives. As Valmont, Aidan Turner brings out the comedy of the piece, with many a double entendre, sailing dangerously close to pantomime.

Given his sex appeal, this is a strangely unsexy production. It all feels too cautious and unmessy, and when love intervenes and spoils their machinations, the emotional impact is missing. Darren Hand is particularly effective as young, initially innocent Danceny, and Monica Barbaro is excellent as Madame Tourvel, in love with both God and her husband, whom Valmont seduces for the sheer challenge of it. Hannah van der Westhuysen’s conversion from trainee nun to established vamp is a little too broadly portrayed, especially in a misfiring lap dancing sequence. In fact, as the play progresses, the dance sequences feel as if they are increasingly taking the place of dialogue, often interrupting the emotional building rather than fully enhancing it.

Still, there is much to admire in Marianne Elliott’s confident production, and perhaps that is the problem: it shows rather than tells, and the emotional pay-offs don’t feel fully earned. However, the downfall of the Marquise de Merteuil is superbly played by Manville, and the masked ball framing of the show ensures the circle of bored corrupters will continue.

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The Blurb:

The pen is mightier than the sword

Among the glittering salons of the super-rich, patriarchy equals power, reputation is everything – and for women, one misstep can mean ruin.

Marquise de Merteuil, master in the art of survival, wields her influence with intelligence and control. Alongside the magnetic Vicomte de Valmont, they turn seduction into strategy and weaponise desire. But when their alliance collapses into rivalry, the battle between them threatens to destroy everyone in their path.

Marianne Elliott (Angels in America) directs Lesley Manville (Phantom Thread) and Aidan Turner (Rivals) in a striking new staging of Christopher Hampton’s (The Father) celebrated adaptation of Choderlos de Laclos’ classic novel – a thrilling game of love, lies and social warfare.