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Act First Glance The Crimson Conquest
Barons Court Theatre
26 February – 8 March, 2008
A review by Tanith Lindon for EXTRA! EXTRA!
Ally James’ The Crimson Conquest modernises and somewhat simplifies the racy tale of Pierre Choderlos De Laclos’ Les Liasons Dangereuses, broadly about the sexual exploits of a pair of manipulative aristocrats. Although it is always difficult to keep an open mind with a re-working of a story you know well, James’ play has enough added to it to be interesting in its own right (and of course it has a twist...). By reducing the number of principal characters to five, the naive lovers from Les Liasons Dangereuses become much more three-dimensional as Cecilia (Alexandra Batiste Wegner) and Laurence (Matthew Schmolle), as does the back-story of Cecilia’s celibate older sister, Teresa (Philly Greenwood). Barons Court is unusual among other pub theatres, as instead of going up, you go downstairs to see a performance, entering a kooky red cellar with seating nestled into the caverns, not unreminiscent of a jazz bar. This has the disadvantage of distorting the acoustics somewhat, but the audience can sit on three sides of the stage, none of which offer a restricted view. Director Joseph Walsh adapted the staging excellently to make the most out of the space, and kept a continuous flow through the play by overlapping entrances and exits. This layering effect was particularly striking when Laurence and Cecilia were speaking their love letters aloud to one another as monologues: other characters flow in and out as time passes, and Vincent (played by Fergus Rees) steals up between the pair, caresses Laurence’s supposedly virginal love, and carries her to the bed, while Cecilia never ceases her recital. The scene created a beautiful juxtaposition between a couple’s blinding first love, and the lusty reality of the more experienced pair, Vincent and Maria. Fergus Rees captures the stance of arrogant fop Vincent perfectly, sparring with Carolyn Goodyear, whose Maria gives as good as she gets. The sexual aspects of the production are dealt with tastefully, yet the confidence and body-awareness that Rees and Goodyear possess create a palpable sexual tension. The scenes between the two sometimes felt a little rushed, but they are suitably pitted in character, and their flirtatious interplay becomes increasingly entertaining. Goodyear is particularly sensitive to comic timing – “You’re a romantic, which is...charming” – and allows her character to revel in the game at hand. Subtle condescension turns her into something of a toned-down Absolutely Fabulous character, particularly during the scene where she helps wide-eyed schoolgirl Cecilia to get ready for a party, commenting, “It’s hard to go wrong with French fashion...” The set and costumes used were simple yet effective, with minor changes that communicated the difference in time or place aptly. Across the board the action is played with enthusiasm, the energy never lagging in its one and a half hour span. An entertaining romp!
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