"This production of 'Dangerous Liaisons' does not stray from the much-needed hint of intimate sexual tension and intention. Bravo to Wren Theatre for maintaining that brave focus."

Applause to Wren Theatre for tackling the challenging 'Dangerous Liaisons.' Christopher Hampton's play is no easy feat to stage, from recreating the pre-Revolutionary France visual look right down to the costumes and props. Additionally, the actors must clearly understand the subtleties within the dialogue and the truth that lies beneath the spoken words.

The challenge is one that director Tatum Lee handles relatively well for the most part. Some technical sound issues prevented me from hearing the dialogue clearly and consistently. Hopefully Tatum Lee (who was working on microphones that night) can fix these issues as performances continue.

'Dangerous Liaisons' is classified as a drama. However, the cast did not maintain this form consistently throughout the drama's opening night. Yes, the script's comic moments temper suspenseful intensity. However, there were times during this opening performance when the comic moments and the melodrama overlapped, and I couldn't figure out whether I was watching a comedy, a melodrama, or a drama. 

The time is pre-Revolutionary France in Hampton's work. 'Liaisons' focuses on two very decadent, bored, privileged aristocrats: Valmont (Devin Bell) and the Marquise de Merteuil (Jesse McQueen). They are rivals who use sex to humiliate, manipulate, and degrade others. Valmont and the Marquise love the havoc they wreak on unsuspecting individuals.  There once was a time when the two were lovers.

In the story, Valmont and the Marquise target two people: the virtuous married woman Madame de Tourvel (Lizette Mynhardt) and Cécile Volanges (Katelyn Doyle), a young girl who falls in love with her music tutor, Chevalier Danceny (Lucas Blakely). There are supporting characters who sometimes pose challenges to the central characters. Courtesan Émilie (Lizzie Moffatt), Valmont's aunt, Madame de Rosemonde (Anne Shepherd), and Cécile's mother, Madame de Volanges (Shannon Pitre), all attempt to want to gain something by the end of the play. Trevor Ketcheson's Azolen is valet to Valmont. Sometimes, Azolen must bribe other characters to get what he wants.  There appears to be more going on in the relationship between Azolen and Valmont through the looks they give to each other.

Staging the play in the Annex Theatre is a spot-on choice. It's a terrific venue for Serhat Dogantekin's set design. There are two beautiful staircases on the stages to the left and right. Lee makes full use of them by having the actors enter from stages left and right, as well as from the audience. There is a window vantage point from which some of the action can take place. Some lovely set pieces represent pre-Revolutionary France. The chaise lounge is a beautiful sight to behold and large enough to accommodate many of Valmont's conquests.

The programme does not list any names for Costume Design. The designs are decent enough re-creations, especially of the women's dresses and clothing. Valmont's clothing at the top of the show certainly catches the eye upon his first entrance. However, on his white stockings, a black mark appears on his right knee, which becomes somewhat distracting. The mark disappears when he stands up. Can this mark be fixed?

There were some glaring and squealing issues in the sound design, so much so that the audience and I grimaced. It brought me out of the story's action a few times, and I had to re-focus my concentration again. Some of the music in Liam Cardinell's selection used to underscore the scenes is quite loud, and I couldn't hear what the actors said (I was sitting in the front row), most notably before the sword fight in Act 2.

Question for consideration: are the microphones necessary? The actors' vocal qualities are strong, and the performers might not require the head mics.

Speaking of the sword fight, the actors involved appeared to have received some training. However, the fight takes place very close to the audience. It might make some people feel a tad uncomfortable.

I was pleased to see that director Lee did not shy away at all from hinting at the decadent sexuality and its rising and falling tension. Lee made the choice not to couch the sex, and it is a good choice. She and Lizzie Moffatt's work as Intimacy Directors handles these intense moments professionally.

Jesse McQueen is a sharply coy Marquise de Merteuil, well-versed in the bold and brazen art of lovemaking of the era.  After a few moments of what might have been opening night jitters, Devin Bell comes across as a sexually charged Lothario in his Valmont. Katelyn Doyle's Cécile is consistently truthful throughout the entire production. Lucas Blakely's Dancey focuses nicely on the character's, at times, buffoonish nature. However, Dancey's change in Act 2 is somewhat surprising and raises my eyebrows in anticipation of the plot twist. Lizette Mynhardt is a virtuous Madame de Tourvel who showcases the peaks and valleys of her emotions in her tryst with Valmont.

As Azolen, Trevor Ketcheson's deftly toys with the truth of what lies under his rigidly firm posture. Shannon Pitre has powerful vocals as Madame de Volanges. I would like to know if Pitre needs the microphones because I could hear her voice.

I want to keep my eye on Wren Theatre and its performers. There's burgeoning stage talent here.
Running time: approximately two hours and 25 minutes with one intermission/interval.

'Dangerous Liaisons' runs until June 7 at Annex Theatre, 736 Bathurst Street, Toronto. For tickets: wrentheatre.com

WREN THEATRE presents
'Dangerous Liaisons' by Christopher Hampton
Directed by Tatum Lee
Assistant Director: Marissa Rassmussen
Executive Producer: Darren Mark
Executive Producer: Stefania Mark
Intimacy Director: Lizzie Moffatt
Fight Director: Jack Davidson (née Rennie)
Set Designer: Serhat Dogantekin
Lighting and Sound Designer: Liam Cardinell

Performers: Devin Bell, Jesse McQueen, Lizette Mynhardt, Katelyn Doyle, Shannon Pitre, Lucas Blakely, Anne Shepherd, Trevor Ketcheson, Lizzie Moffatt