by Christopher Hampton
directed by Kristin Hughes
featuring Melissa Sine, Jason Beals & Sara Jones
with Anne Freud, Sandi McDonald, Andy O'Kane, Kristin Shoop, Chris Wagner, Leslie Wagner & Steve Folven
Hovey Players in Abbott Memorial Theatre
9 Spring St. Waltham / (781) 893 - 9171
through Jan. 28
Unlikely as might seem, mostly to those who've not ventured out to Waltham to see them, the Hovey Players production of Christopher Hampton's 1985 adaptation of Choderlos de Laclos epistolatory novel "Les Liaisons Dangereuse"(1782) does a better job in Abbott's intimate confines of illuminating the script and playing at a decent pace than a much more visually impressive large-scale proscenium extravaganza now running downtown. This is due largely to a sound ensemble cast led by Melissa Sine as the schemer Marquise Merteuil and Jason Beals as her former lover and co-conspirator Vicomte Valmont. As the center of the action, these two skilled performers generate the kind of electricity and style sadly missing at the Huntington. Sine, with a number of past leading roles for the Hovey, is every inch the lady and always in charge. Beals, who was impressive in Molasses Tank's last two Absurdist productions, is a beardless, redheaded charmer, believably dangerous without being obvious--except to the audience. Relative newcomer Sara Jones, as his victim Marianne de Tourvel, is willowly and attractive, a believable target for Valmont's newly-found passion and the opposite of his usual choices, embodied--but fully dressed--as Anne Freud's juvenile Cecile. Even though their words are modern, there's a sense of period generated simply by believing in their characters and all their antique flaws.
The rest of the ensemble under Kristin Hughes careful direction includes Andy O'Kane as Chevalier Danceny, Cecile's earnest young man and Valmont's nemesis. He recently did the lead in Albee's "The Goat..." Next is Kristin Shoop--seen last season in the lead of "Violet" at Footlight opposite Beals--as Valmont's courtesan Emelie. Chris Wagner, seen last season at Vokes, plays Azolan, Valmont's randy valet, with appropriate airs. Sandi McDonald, a veteran actress and producer for Footlight lends real dignity to Valmont's knowing aunt, Mme. de Rosemonde, while Leslie Wagner is nicely unknowing as Cecile's mother.
All are properly costumed in new elegant gowns and coats done by Kimmerie H. O. Jones and wigged by Judy Disbrow. A few more changes would add to the look, but are not necessary. Chris Cardoni's fight choreography for Valmont and Danceny is almost frightenly real seen up close. One or more additional costumed servants besides Steve Folven would allow the furniture shifting scene changes to be done more quickly in subdued light rather than in the dark, which would allow the cast to more easily retain the excellent pacing. Michele Boll and John Mackenzie have once again adapted Abbott's permanent features into a unit set for a multi-scene play using a largely black and gold color scheme. The reflecting glass on the doors remains a problem, however. The productions few minor distractions in no way interfere with its success.
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