Cruel Intentions: The ’90s Musical

(seen at the afternoon performance on 4th February 2024)

The monkey remembers the Royal Shakespeare Company’s “Les Liaisons Dangereuse” at the Ambassadors Theatre, London, for being one of the most stylishly immoral plays of the 1980s. The 2015 revival at the Donmar Warehouse proved time had done little to diminish its sensual shock value.

Between them came a film derived from the original source material. Transposing the action to 1990s upper class teenage New York City as a tale of high-school intrigue, it was a hit for Sarah Michelle Gellar (who gets the first words here). 

The film’s writer joined Jordan Ross and Lindsey Rosin in 2015 to pick songs from the 90s and interpolate them into an off-Broadway musical which now lands all-hormones blazing on the Other Palace Theatre’s main stage.

The result is a unique, sizzlingly sexy dark romp through the teenage mind. 

Polly Sullivan’s simple revolving checkerboard floor with gallery above and views of the New York skyline are perfection. Expensive chaise-longues and couches, plus stylish outfits the ladies, in particular, seem to relish wearing, are sufficient under Nick Riching’s scandalously purple lighting, to give a real sense of class bubble.

Heating it all up is Kathryn Merteuil. Sees all, hears all and is never afraid to manipulate all for her own amusement as well as advantage. Verity Thompson’s unexpected debut in the role proved worth waiting for.

Covering for absent Rhianne-Louise McCaulsley at just six hours’ notice, the audience waited patiently as director Jonathan O’Boyle ran brief rehearsals and accepted that Ms Thompson might be “on-book” (performing with a script to prompt her).

By the happiest accident, carrying a large tablet around on-stage added massively to the depth of her character. The regular checking, glances and prods indicated a girl determined not to miss a thing. It wasn’t that a last minute actor was consulting her script, it was that Merteuil is being constantly being updated by followers unknown as to what was going on in her Queendom... and adjusting poisons accordingly.

Far more important, Thompson proves a very, very valuable performer, seamlessly integrating and guiding the cast as the lead should. This role is hers, and she is worthy of note for any future musical theatre casting director.

In his regular role as step-brother Sebastian Valmont, Daniel Bravo skilfully delivers the surprise in his emotional trajectory. Always with an eye for a lady and shortcut for himself, his realisation is handled adroitly in just two lines.

His victims, for victims they are, are both played by actors making their professional debuts. This helps considerably their fresh appeal, and both elicit considerable sympathy.

Young Cecile Caldwell (Rose Galbraith) is innocence devoured by both spiders. Galbraith gets the biggest laugh of the show with “The Sign,” her assured clueless fumblings having the audience constantly wishing to save her from herself. 

Far more sure of her own mind, Annette Hargrove is determined to avoid such pitfalls. Abbie Budden matches seducer Bravo in the duel of feelings. Each wielding a rapier inflicting painful gashes that only hurt when they pause to take stock.

Supporting the main characters, and essential to the machinations, Jess Buckby’s Dr Greenbaum dodges hopelessly Sebastian’s early advances. Her daughter fares no better.

Further painful demonstrations of Sebastian’s casual homophobia are well played out by Josh Barnett and Barney Wilkinson as Blaine and Greg. A set-up encounter crashed, the “Spice Girls” moment is ruined but audience sympathy for the pair is assured.

On his step-sister’s side, cello teacher Ronald Clifford is the main victim of Kathryn, Nathan Lorainey-Dineen (covering absent Nickcolia King-N’Da) watching his simple lifestyle burn in the flames of still more manipulated passion.

If you do not know the era of music, it is little matter. Perhaps an original score would have dove-tailed with the action a little more closely at times, but the meaning is always clear and rarely strays. Strong vocal and dance performances ensure they land.

From a sophisticated beginning, teen coarseness pollutes the smooth oil a little as the engine overheats, and the whole is somewhat let down by a rather rushed ending.

Fortunately, director O’Boyle and choreographer Gary Lloyd do their best to maintain plot clarity and character integrity, stretching the material for the neatest possible closure.

Another adult show masquerading as a teen-led musical. If you liked "Heathers" this takes it up a notch or three, serving more vitriol than slushie. Cruel to unintentionally miss this one, for sure.