Review by Simon Jenner, June 24th 2025
So what have the 1780s ever done for us? That cry screeches out of this 1990s New York high school. The answer is, it’s screwing you. Laclos’ Liaisons Dangereuses meets Heathers? Jordan Ross, Lindsay Rosinand Roger Kumble fashion Kumble’s 1999 film for a hit musical. There’s Christopher Hampton’s 1985 stage version.
But it’s clearly two 1980s movies of Liaisons Dangereuses – the John Malkovich/Glenn Close version and even finer Valmont with Colin Firth – that got Kumble thinking; twice. With it, summer’s officially on; and, being 1999 every 1990s hit is already out there. Cruel Intentions arrives at Theatre Royal Brighton till June 28th directed by Jonathan O’Boyle. It’s the final leg of the tour, so don’t miss it. Nor this group of (mainly) just-graduated stars of tomorrow.
Nic Myers and Will Callum. Photo Credit: Pamela Raith
It’s the 1990s but you’d be forgiven for thinking it’s an Adam and the Ants revival. Nick Ritchings’ lighting is almost the star of the show, wild pastels (lime through turquoise and rose) in a dance routine over their own. It’s perfectly realised with Polly Sullivan’s witty blend of 18th century chequered floor (a sort of Bridget Riley centrifuge of black and white centring the middle, dazzled by Ritchings); as Palladian buttresses jut out with very chic French apertures. There’s even a chandelier effect. Costumes are pure 90s. So’s the sound, with Chris Whybrow’s sonic envelope obscuring the clarity of diction and the band’s admirable punchiness – led by Will Joy.
Gary Lloyd’s choreography though is a marvel of elegance turning on a postage stamp (remember those?). Beautifully blocked, clear, individually-sprung for each song, its’s often wickedly funny too; especially in ‘Wannabe’ a standout. Associate choreographer Emma Hunter has a hand in re-sizing every leg of the tour. This fits Brighton’s stage in a way tours sometimes don’t.
Cue the dazzle of a fresh young cast. Names are mostly taken from the original. So clever Kathryn Merteuil (Nic Myers) uses her high standing with everyone to debauch and corrupt. Her great instrument is her stepbrother Sebastian Valmont (Will Callan) who introduces himself: “The 90s are great if you look like me.” He’s nearly as corrupt as her. Kathryn uses him to seduce every virgin in high school.
They’ve met Mrs Bunny Caldwell (Gabriella Williams, also Kathryn’s expensive shrink Dr Greenbaum) whose daughter Cecile (Lucy Carter) is the second-greatest prize. Kathryn’s ex Court Reynolds (Ben Fenwick’s brief role) dumped Kathryn to date Cecile. But she’s not yet yielded. Meanwhile Cecile’s developed feelings for music teacher Ronald Clifford (Kevin Yates). So hold that thought. Cats-cradle? It’s Laclos.
The one more thing is seducing Christian-morality-chic Annette Hargrove (Abbie Budden). If Sebastian does that, Kathryn spicily tells Sebastian just what she’ll do with him. If he loses, she gets his Jag. Sebastian accomplishes all that. But wait.
Greg McConnell (Joe Simmons) the football star dating Annette might be closet gay. If Sebastian can blackmail Greg that he’ll out him unless he helps whitewash Sebastian’s infamous reputation, using the out-rageous Blaine Tuttle (Luke Connor Hall), his way to Annette is clear.
Will Callan is every inch the smouldering Sebastian, supercilious, brash, sexy and devastatingly callous. But: he has, dangerously, a heart he never suspected. Clean-cut as a football star he bulges and strips well too. His vocal range pulses warmth as well as machismo: he throbs with what he might be.
Myers presses her mezzo vicious top-notes so we get the full mean range. Deliberately eschewing any soft tones – they’re in short supply throughout – she emphasises a narrow-bore laser vocal range, the fully vulpine, brittle Kathryn.
The star though may well be Carter. Her in-character take on Cecile is delicious: part cringe, part gawp, part explosion of teen sexuality, part melting love. Her coloratura range is stunning. She never leaves Cecile, whose squeaky-preppy squirm of a voice nears the chalk-on-blackboard effect she wants. Carter, who briefly also plays already-seduced Marci Greenbaum, contrasts her Cecile with someone softer and sassier. It’s a performance of stature.
One highlight is Greg’s outing. Conner Hall’s Blaise is deliriously funny, wonderfully camp, revelling in queerdom when the 90s were dangerous, he’s fearless and knows just how to press Greg’s um button. Conner Hall and Simmons sizzle and snipe in a mating-dance of pure adrenalin. The stand-off ‘Wannabe’ between them turns it into a queer anthem just as surely as ‘Tainted Love’. I’ll never think of the Spice Girls in the same way. Lloyd’s choreography is at full tilt here.
It’s the finest number, and others – ‘Breakfast at Tiffany’s’ – might be as good were it not swallowed by the sound. The second half allows more breathing as the dance of list and doom circles. Myers and Callan get ‘Only Happy When it rains’ to close the fit half, and ‘Torn’ allows Callan and Budden a real moment. Callan’s ‘Losing My Religion’ is really fine the finest song along with the ensemble ‘Bitter Sweet Symphony’ at the end. Hargrove is every inch the prim but passionate Annette and even more comes into her own during the seduction and heartbreak after: lyrically too she matches Callan.
There’s extremely fine work too from Yates’ honest lover Ronald, whom Cecile loves and wants to mutually pleasure now she’s been initiated sexually (as Sebastian falsely reasons). Williams covers herself with Boston pudeur (to use a French word out of Laclos, prudence, prudery, respectability, you name it). And the ensemble – Olivia Brookes, Sophie Hutchinson, Onuri Smith and especially Fenwick in his brief role as Court Reynolds, deserve their separate curtain-call. It looks a larger musical than it is. All credit to O’Boyle, Lloyd and the multi-talented, multi-roling cast.
It’s dark, but unlike Laclos, has a heart. Sebastian’s kept a diary, one place he’s always been honest to himself: and he gifts it. And one of Kathryn’s tricks – to copy and pass on intimate letters – is here turned to advantage by someone out for justice. If ever you’ve been crossed in love, double-crossed yourself, or just crossing through, then this is for you. It’s June’s two-hour-ten sizzle, all the way to Six, this September.
MD/Keys 1 Will Joy, Guitars Nick Rees, Bass Tom Sansbury, Drums Adam ‘Twenny’ Sheffield, Cover Keys 1 Jeremy Wootton.
Music Supervisor Jeremy Wootton, Orchestrations Zach Spound, Associate Choreographer Emma Hunter, Associate Sound Designer Adam ‘Fabulous’ Taylor, Costume Supervisor Robin Lill, Intimacy Co-ordinator Rebecca Reaney, Fight Director Brett Yount.
Kevin Yates and Lucy Carter. Photo Credit: Pamela Raith
