Les Liaisons Dangereuses Review: Aiden Turner Outshines Even Poldark in National Theatre Triumph
Thursday 02 April 2026 brought a stunning revival of Les Liaisons Dangereuses to the National Theatre, where Aiden Turner proves he's even more captivating than his iconic Poldark role. Marianne Elliott's adaptation of Pierre Choderlos de Laclos's 1782 epistolary novel masterfully explores the dangerous games of seduction and power in 18th-century Parisian society.
A Tale of Power, Seduction, and Ultimate Destruction
"Love is something you use, not something you fall into like quicksand." This central philosophy drives the narrative of Les Liaisons Dangereuses, where sexual conquest becomes the ultimate power play. The production reveals how succumbing to genuine emotion can prove physically sickening for characters trapped in this shallow, manipulative world.
Lesley Manville, renowned for her roles in Phantom Thread and The Crown, commands the stage as the Marquise de Merteuil with regal authority. Her performance demonstrates how charm becomes a weapon, whether she's corrupting young Cecille or delivering cutting observations about women's societal limitations. "Vanity and happiness are incompatible," she declares, encapsulating the play's cynical worldview.
Stunning Visual Design and Costuming
Rosanna Vize's innovative set design rejects traditional opulence in favor of psychological depth. The National Theatre's expansive stage is framed by mirrors, reflecting the characters' superficiality, while frescoes of nude women draped in pearls and silks hang above. This minimalist approach allows Natalie Roar's exquisite costumes to take center stage.
The costuming blends period authenticity with modern sensibilities, featuring jeweled lapels, pleated silks, and subtle BDSM elements like chokers and PVC gloves. The aesthetic recalls Emerald Fennell's Wuthering Heights adaptation, where historical accuracy meets contemporary edge. Dance sequences between scenes add a Bridgerton-esque flavor, heightening the sexual tension throughout the production.
Aiden Turner's Compelling Performance
Aiden Turner delivers a mesmerizing performance as the Vicomte de Valmont, Manville's former lover turned rival in their games of seduction. His Irish cadence lends natural charm to the character, making his social manipulations seem effortless. Turner transitions seamlessly between Wildean dandy and lovesick suitor, using every tool at his disposal to conquer his targets.
"All I wanted was to deserve you," he proclaims to one victim, employing tactics that will feel familiar to anyone who's encountered modern "fuckboy" behavior. Beyond his undeniable charisma, Turner reveals the character's darker dimensions as the play progresses, showing how seduction can cross into abuse.
The Enduring Shock Value of Dangerous Liaisons
Four centuries after its creation, Les Liaisons Dangereuses retains its capacity to shock audiences. Scenes between Turner's Vicomte and the innocent Cecille become increasingly uncomfortable viewing as his lovable rogue persona unravels. The production doesn't shy away from showing how the characters' games have devastating consequences.
When Turner repeatedly shouts "it's the way of the world, it's beyond my control" into the void, the audience knows better than to believe him. The quicksand of consequences finally arrives, consuming the hollow world the characters have created.
A Triumph of Dark Theatre
What makes this production exceptional is its unflinching embrace of darkness. Unlike Oscar Wilde's comedies where ennui has frivolous consequences, here it proves genuinely destructive. The line between seduction and abuse is clearly crossed, yet the characters laugh it off ominously, highlighting their moral bankruptcy.
The National Theatre's production demonstrates why this story scandalized even Marie Antoinette, who required a blank cover for her personal copy. Today, it continues to resonate with modern audiences familiar with toxic relationship dynamics and power imbalances.
Les Liaisons Dangereuses runs at the National Theatre until 6 June 2026, offering London theatregoers a compelling examination of manipulation, desire, and the high cost of emotional gamesmanship.
