Valmont: “I want the excitement of watching
her betray everything that’s
most important to her. I thought betrayal was your favourite word.”
Merteuil: “No, no, cruelty. I always think that has a nobler ring
MONTREAL August 2008 - The Leanor and Alvin Segal Theatre
kicks off a sizzling season of passion and seduction with Dangerous
Liaisons, Christopher Hampton’s adaptation of Pierre Choderlos
de Laclos’ 1782 French novel about lust, greed, deception and romance.
Don’t miss what promises to be an exciting production, led by award-winning
director, Alexandre Marine and featuring a handpicked, mostly
Montreal cast of 16.
The Marquise de Merteuil and the Vicomte de Valmont are a pair of schemers
(and former lovers) who take pleasure in coolly manipulating and seducing those
around them, leaving scandal, dishonour and outrage in their wake. The Marquise
challenges the Vicomte to seduce the virtuous Madame de Tourvel, but when the
latter breaks the rules and finds himself genuinely falling in love with his
intended prey, the game quickly turns fatal--with devastating consequences for
everyone involved. Here, sex is a game and death is but a means of keeping score.
Director Marine’s previous production at the Segal, the Prix de la Critique
award winning Amadeus, was an unqualified success
and demonstrated his unique creativity in staging large scale period plays,
particularly the decadent period of the late eighteenth century. Dangerous
Liaisons will offer audiences another opportunity to experience Marine’s
directorial talent. Bryna Wasserman, the Segal Centre’s Artistic and Executive
Director, was never in doubt as to who should direct this opening play of the
Segal’s 08-09 season. “I couldn’t be more confident in having
Sasha leading this production, she said. It’s a large scale, challenging
play, but with his innovative eye and mastery of the physical aspect of the
theatre, I’m certain his perspective will bring it to life in the most
distinct and imaginative ways.”
“This play and its themes of sex, power and manipulation are universal,
we’re still playing by the same rules as two centuries ago,” said
Marine in expressing the timelessness of the play. “You need look no further
than today’s news, at how little time is taken up by actual news versus
tabloid sex scandals.” As well, this late twentieth century stage adaptation
of a late eighteenth century novel will astonish today’s audience with
how powerful and liberated the women are in the play. Madame de Merteuil matches
her adversary Valmont move for move in this game of love, passion and domination.
As part of a truly international cast, Brett Christopher (a
one man tour-de-force in the Segal’s I Am My Own Wife) stars
as the Vicomte de Valmont. Catherine de Sevè (hugely
popular for L’auberge du chien noir on SRC, here in her first
English stage role) enthralls as the Marquise de Merteuil. The highly respected
cast also includes Jake Epstein (De Grassi: The Next Generation,
Gemini Award), Anthousa Harris (Centaur’s Romeo and
Juliet), Gemma James-Smith (Sidemart’s The Haunted
Hillbilly), Vitali Makarov (Théâtre Deuxième
Realité’s Hamlet), Tara Nicodemo (The
Segal’s The Diary of Anne Frank), Jillian Niedoba
(Not Wanted on the Voyage), Igor Ovadis (Minuit
le soir) and Moira Wylie (The Segal’s Hedda
Gabler). Rounding out the company is Maud Desbois, Adam
Driscoll, Alexandre Gorchkov, Lauren Roy,
Kristina Sandev and David Sklar.
The design team has conceived a stage where reality reflects fantasy, desire
and dreams - a space mirroring brooding narcissism. Mastermind creators include
Yannik Larivée, set and props; Spike Lyne,
lighting; Jessica Poirier-Chang, costumes and Dmitri
Marine, sound and original music. Elaine Normandeau
is the stage manager and Merissa Tordjman completes the team
as assistant stage manager. Expect this to be the flagship show of the season.
“Le Vicomte de Valmont is conspicuously charming
and never opens his mouth without first calculating what damage he can do.”
- Mme. De Volanges
88.5 CBC Radio One proudly presents Sunday-@-the-Segal
Sunday, September 7, 11am. Admission is free.
Join us for another season of intimate conversation and riveting lectures.
Monday Night Talkbacks presented by Pratt and Whitney Canada
As usual following the play, some of the actors and/or designers will remain
on stage to take questions from the audience. Monday Night Talkbacks provides
an intimate opportunity for audiences to engage up close and personal with the
personalities bringing first class professional English language theatre to
Building audiences for the future
Everyone in this field knows that what matters most is the creation and fostering
of new audiences. To this extent, the Segal Centre is offering fantastic savings
for those under 30. The hope is to see full advantage of this taken, from full-time
college and university students to young professionals just starting out.
TICKETS AND MEDIA INFORMATION
September 7-28, 2008
September 7 1:30 pm
September 8-10 8:00 pm
September 7 11:00 am
Media Opening Night:
Thursday, September 11 8:00 pm
Monday - Thursday, 8:00 pm
Saturday 8:30 pm
Sunday 7:00 pm
Wednesdays 1:00 pm
Sundays 2:00 pm
Segal Centre for Performing Arts at the Saidye
5170 Cote St. Catherine Rd.
Alexandre Marine - Director
Mr. Marine is a founding member of the Tabakov Theatre in Moscow, founding artistic
director of his company, Théâtre Deuxième Réalité
(T2R) and a faculty member at the Institute of Advanced Theatre Training at
Harvard University. He has directed over 60 shows in Moscow, Montreal, Boston,
New York and Tokyo. His 1997 production of Shakespeare's The Winter's Tale
at Centaur Theatre was rewarded at the Soirée des Masques, while T2R’s
Hamlet was awarded the critics' prize (AQCT) for best Montreal show
in 1999. The Segal production of Amadeus, which he directed, was also
noted by the AQCT prize for best English-language production, as well as a MECCA
for best director.
Brett Christopher - Le Vicomte de Valmont
Brett is known to Segal audiences for his performance in the solo show I
Am My Own Wife (Masques Award: Best English Production, Mecca Award: Best
Actor.) Other notable theatre credits include: The Gladstone Variations;
Autoshow (Convergence Theatre); Antony & Cleopatra (Shakespeare
in the Rough); Much Ado About Nothing (CanStage); Family Stories:
Belgrade, The Sea (ARC); Romeo & Juliet; As You
Like It (Theatre by the Bay); Mary’s Wedding (Theatre &
Co.) Brett is also the General Manager of Theatre Kingston and a graduate of
the George Brown Theatre School.
Catherine de Seve - La Marquise de Merteuil
Catherine De Sève shares her time and versatile talent between theatre
and television. On stage: La Marea (FTA), Le Silence (Omnibus),
Le Comte de Monte-Cristo and Scaramouche (Théâtre
Denise-Pelletier). She also took part in Brigitte Haentjens’s creation
Tout comme elle (Usine C). She made a name for herself on Quebec television
in Sketch Show (Gémeaux nomination for Best Actress in comedy).
Since 2003, she has been a part of the prime-time program L’auberge
du chien noir, broadcast on the SRC.
Christopher Hampton - Playwright
Dangerous Liaisons is Mr. Hampton’s 1985 Royal Shakespeare Company
adaptation of Pierre Choderlos de Laclos 1782 French epistolary novel. Other
plays include The Talking Cure, White Chameleon, Tales
from Hollywood, Treats, Savages, The Philanthropist
and Total Eclipse. He co-wrote the book and lyrics for the musicals
Sunset Boulevard and Dracula and the libretto for the Philip
Glass operas Waiting for the Barbarians and Appomattox. He
has translated extensively from Chekhov, Ibsen, Moliere, Odon von Horvath and
Yasmina Reza. Screenplays include The Quiet American, Dangerous
Liaisons (for which he won as Oscar), Carrington Atonement and
most recently Cheri.
Pierre Choderlos de Laclos - Novelist
Pierre Choderlos de Laclos, (1741-1803), was a French soldier and novelist.
His masterpiece Les Liaisons dangereuses is one of the earliest examples
of the psychological novel. Written in epistolary form, it explores the amorous
intrigues of French aristocracy. It combines searching psychological analysis
in the manner of 17th-century drama, the assumptions of 18th-century philosophical
sensationalism and suggestions of demonic Romantic revolt. The novel has inspired
a large number of critical and analytic commentaries, plays and films.