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This revival seems poised to reap a decent number of nominations, too. The more recent revival in 2008 received five nominations, including Best Revival and Best Actor ( Ben Daniels), and won the award for Best Costume Design ( Katrina Lindsay).
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The original production in 1987 received eight nominations, including Best Play, Best Actor ( Alan Rickman), and Best Actress ( Lindsay Duncan), although it did not take home any trophies. Previous productions of “Les Liaisons Dangereuses” have performed particularly well at the Tonys. In light of the reactions of critics, how might “Liaisons” make out at the Tony Awards? Ben Brantley ( New York Times) found both McTeer and Schreiber uneven and trapped in a “state of unnatural captivity,” equating their high-octane performances to a bull in a china shop, although he does commend the production’s “expert lighting” and “ravishing period garb.” Harsher yet, Jeremy Gerard ( Deadline) deems the show an “oddly off-putting mix of period melodrama and contemporary finger-wagging,” disliking Josie Rourke’s direction, and pegging McTeer as “over-emphasized” and Schreiber as sometimes “cringe-inducingly unconvincing.” Gerard does compliment the “sometimes visually arresting” design, though, and singles out Birgitte Hjort Sørensen’s performance as “persuasive and heartbreaking.” Linda Winer ( Newsday) praises the “still-shocking” play for its “haunting set” and “marvelous cast,” with raves for McTeer, who delivers a “terrifically layered” performance, and Schreiber, who becomes “increasingly irresistible… bemused, playful, almost touching in his insolent confidence.” Jesse Green ( Vulture) also lauds both the physical production and the performances, but ultimately admits the revival is “a triumph of the visual over the dramatic… like a racecar running on half an engine.”
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With experts’ latest predictions and breaking newsĬritical response to the revival has been considerably divided.
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(“I’m not sure at all how appropriate an emotion love is, particularly within marriage,” or, “I see she writes as badly as she dresses.”) Still, the audience with which I saw the show chuckled happily over these lines, as well as double-entendre-laden spins on familiar phrases like “stiffen his resolve” or “back in the saddle.Sign up to get Gold Derby’s free newsletter The unceasing cleverness in conversation wears thin, and the exchange of polished aperçus often sounds like ersatz Oscar Wilde. Their victims - embodied by, among others, the preternaturally poised Danish actress Birgitte Hjort Sorensen, Raffi Barsoumian and the delightfully callow Elena Kampouris - come off as particularly clueless. When it comes to plotting the demise of others, via romantic conquest, the Marquise and the Vicomte behave like figures in a Restoration comedy, hiding behind screens and signaling each other with grimaces and rolled eyes behind the backs of others. His Vicomte is a cad, sure, but a jovial one. Schreiber - who is usually musky with sex appeal (as in “Ray Donovan” on television) - comes across as cloddish and amiable, an old-old-school frat boy stuck in culottes and an unflattering wig. McTeer plays her as someone from whom little children would surely shrink in terror. Though the Marquise de Merteuil is widely perceived as the epitome of kindly politesse, to whom people (unwisely) turn in distress, Ms.
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It is cavernously deep and sonorous, as if she were auditioning to replace Angelina Jolie in a sequel to “Maleficent.” Her movements are equally exaggerated and menacing. McTeer adopts for the occasion suggests as much.