‘Les Liaisons Dangereuses’ at Singleton Center, wickedly sharp and deliciously naughty

Jordan Wilson

Staff Writer

Whether we like it or not, we all enjoy watching characters on stage, in films and in literature being naughty.

In life we generally try to do the right thing and make the most ethical and appropriate decisions. Christopher Hampton’s play “Les Liaisons Dangereuses,” performed in the Raymond Hodges Theatre Saturday night, fulfills our occasional desire to bask in the nether regions of human nature.

La Marquis de Merteuil (fourth-year VCU performance major Jennifer Ferguson) is a cold, calculating woman who has trained herself from a young age to hide her true thoughts about the world around her, and to estimate quite well other people’s secrets simply by watching them.

Her partner in sexual conquest is le Vicomte de Valmont (VCU graduate student Joseph Carlson), whose reputation rivals that of the Marquis de Sade. Together, the two deviants of French high society delight in humiliating others for kicks.

As the play begins, Valmont and Merteuil each have a plan: Valmont wishes to conquer a deeply principled and religious woman, la Presidente de Tourvel (fourth-year VCU performance major Claire Biggers); Merteuil wishes Valmont to conquer a young girl named Cecile (third-year VCU performance major Jai Goodman), whose mother (fourth-year performance major Ashley Keeter) has recently taken her out of a convent.

Cecile is in love with a penniless music teacher named Danceny (third-year VCU performance major Matt Bloch), who is only able to maintain a sweet, novelistic perception of love for so long after Merteuil intervenes.

While the first act of the show was very good, the second act was superb.

Director Tawnya Pettiford-Wates did a splendid job staging the show so that each scene transition is interesting and humorous, as servants and maids giggle while moving around furniture and tidying up.

Many times, we see the maids and servants flirting, and then chasing each other off stage. Never is the audience removed from this aristocratic world. We are completely immersed in it to the point that we almost feel like we have become aristocratic French flies on the wall.

Joseph Carlson is absolutely flawless in his role. His articulation and the way he so deliberately glides across the stage with arrogance proves that he is an actor to watch.

He manages to steal every scene he is in, and it is seemingly effortless. He is surrounded by other terrific actors and handles the material with wonderful comic timing.

It is quite easy when watching a group of talented actors perform Hampton’s play to lose count of the double entendres and the razor sharp allusions, such as the moment when Valmont very suggestively touches his sword to Danceny’s in a duel toward the end of the play.

Saturday night’s audience seemed rather stunned by both the costumes and the set design, and both elements of the production were sights to be seen.

Chaise-lounges and elegant tables, chairs and desks surrounded the actors, creating an authentic atmosphere for the actors to plot, scheme and deceive in. Costume designer Josh Quinn should be proud, as should the entire scenery team.

The lighting design is also worth mentioning, as it fluidly carried the audience from one location to another. Technical director Alan Williamson and lighting designer Samuel Updike did some terrific work.

“Les Liaisons Dangereuses” weaves an intricate web of deceit and revenge, and Saturday’s performance interpreted it nicely. The wit and humor inscribed into the piece remained totally intact, as did the dramatic intensity. Having read this play in the past, it is extraordinary to see it brought to live with such energy and craft.

As schemes progress and new twists and complications develop, each character is tested morally. What this production gets across well to the audience is that beneath the lavish and naughty reputations, Merteuil and Valmont are simply wealthy, bored human beings with nothing better to do.

“Les Liaisons Dangereuses” will be playing at the Singleton Center Nov. 14 at 3 p.m., Nov. 18-20 at 7:30 p.m., and Nov. 21 at 3 p.m.