Theater Reviews

Apr 30, 2006 - Nevada Rep's elegant "Les Liaisons Dangereuses" lacks audibility

By Jack Neal

Elegantly costumed, adorned with lovely 18th century settings, beautifully lighted, and wonderfully acted I'm sure, Nevada Rep's "Les Liaisons Dangereuses" all too often lacks the one thing a chatty play about immoral things really must have - audibility.

"Les Liaisons Dangereuses (Dangerous Liaisons)" is not about a morally attractive collection of people. The novel by Choderlos de Laclos on which the play is based was published in France in 1782. The decadence of France's so-called nobility was a major factor setting off the French Revolution.

The French Revolution spurred on by the American Revolution could spur on another American Revolution to rid America of the moral decadence of corporate greed. With "Myth, Propaganda and Disaster in Nazi Germany and Contemporary America" as Nevada Rep's last presentation, it's clear revolutions are part of the general theme of this year's Nevada Repertory Company season.

Nonetheless, plays like revolutions need a voice. On opening night (4/28/06) the lack of vocal projection denied the audience clues as to the private conversations taking place on stage. If corrected, and this isn't about electronic amplification, actually being able to hear what characters say to one another could and would make this play a more exciting experience.

Not a thoroughly exciting experience because Christopher Hampton's play is not all that exciting a script. Unless, of course, one simply turns the play's licentious happenings into out-and-out pornography. Given the corrupt nature of the play's two protagonists, Marquise de Merteuil and the Vicomte de Valmont, that wouldn't be hard to do. Fortunately, director Sue Klemp has resisted making the play even more bawdy than it is, and has opted for a gorgeously conceived presentation.

Ben Onyx Dowdy's costumes are stunningly sumptuous, a triumph of costuming that makes "Les Liaison Dangereuses" a rococo fashion show for the gods. Michael Fernbach's simple yet tasteful use of miles of fabric lavishly dresses the stage. Fernbach's lighting of his draperies de amore is exquisite and allows the play's action to move with the adroitness of a keenly edited film.

With shoes designed by Michelle Spencer Davidson, hats designed by Diana M. Akins, jewelry designed by Colin Coate, hair and makeup designed by Jenifer Crenshaw, and fans and canes designed by Nicholas Stanton - all fastidiously managed - nothing of a visual nature has been left to chance, including the interlude music which is sublime.

The ugliness of the plot is something else.

The jilted Marquise, played cunningly by Jenifer Crenshaw, sets out to get even with the man who got away. She enlists the sexually prodigious Valmont, played to the hilt with no socially redeeming qualities whatsoever by Ryan Palomo. As good as Crenshaw and Palomo are, both performances need large doses of flair to spice the action and be truly magnetic - something this play desperately needs.

Regardless, in successful attempts to ruin lives and get even, Valmont seduces - more or less in order - Emilie, a courtesan thrown in for good measure as a warm up, enthusiastically brought off by Casey Ann Bruington; La Presidente de Tourvel innocently played, if one can call a fairly quick acquiescence innocent, by Sarah Potts; and the hopelessly virginal Cecile - his real goal and ultimate triumph - rather meekly played by Dalia E. Gerdel. If only Cecile had the gumption to kick him in the groin.

Meanwhile, back at the ranch and for good measure the Marquise seduces Danceny, the young chap who wants to marry Cecile for the right reason - love. As played by Nick Nealon, Danceny is as unrealistic and naive as Cecile. But how else could Nealon play Danceny? Danceny is a dodo. In reality, the Marquise did any possible Cecile-Danceny offspring a favor. Given their parents, what chance would such children have?

In a come-back performance for one of Reno's most venerable actresses (we now call them actors), Eve Loomis scores ( a bad word given the play's sexual proclivities) as Mme. de Rosemonde. Welcome back Mme. Loomis.

"Les Liaisons Dangereuses" can be seen at the Redfield Proscenium Theater, 900 North Virginia Street, Reno, Nevada, at 7:30 p.m. April 28, 29, May 3, 4, 5 and 6, and at 1:30 p.m. May 7, 2006. For information call 775-784-4ART, or 1-800-225 2277.