JADAR

★★★☆☆

For those who grew up in the late nineties and early noughties, Cruel Intentions: The ’90s Musical is a blast from the past. The stage adaptation of the cult classic 1999 film brings back the drama, the decadence, and—most notably—the pop anthems that defined a generation. With a jukebox score featuring hits from Christina Aguilera, The Verve, Boyz II Men, Britney Spears, TLC, R.E.M., Ace of Base, and Natalie Imbruglia, the musical promises nostalgia in spades.

However, while the music soars, the production itself struggles to match the film’s sharp edge and seductive allure. The story stays true to its source material: privileged and manipulative stepsiblings Sebastian Valmont (Will Callan) and Kathryn Merteuil (Nic Myers) make a ruthless wager—Sebastian must seduce Annette Hargrove (Abbie Budden), the headmaster’s virtuous daughter, as part of their twisted game of deceit. The scheme spirals into a tangled web of secrets, betrayal, and heartbreak, all set within the luxurious but toxic social bubble of Manhattan’s Upper East Side.

Cruel Intentions draws inspiration from Pierre Choderlos de Laclos’ novel Les Liaisons dangereuses, which was first adapted into the 1959 French film Les Liaisons Dangereuses, followed by Dangerous Liaisons (1988) starring Glenn Close, Michelle Pfeiffer, Uma Thurman, Keanu Reeves, and John Malkovich. A year later, Valmont (1989) provided a softer retelling featuring Colin Firth and Annette Bening. The 1999 film, which catapulted Sarah Michelle Gellar, Ryan Phillippe, Reese Witherspoon, and Selma Blair to fame, infused the story with modern irreverence and a glossy teen-drama aesthetic.

This musical adaptation, created by Jordan Ross, Lindsey Rosin, and the film’s director Roger Kumble, is the latest iteration of this enduring tale, complete with a jukebox soundtrack featuring ‘Torn’, ‘Breakfast at Tiffany’so, and ‘Livin’ La Vida Loca’. The show’s strongest asset is its refreshed songs. Under the guidance of musical director Will Joy, familiar pop songs are reimagined with fresh harmonies, mashups, and even a cappella choir moments, elevating them beyond mere karaoke renditions. Duets and group numbers turn what were once radio hits into full-bodied musical theatre performances, and this creative approach is the production’s strongest point. The orchestration, arranged by Zach Spound, successfully breathes theatricality into songs such as ‘Foolish Games’, ‘Bitch’, ‘Kiss Me’, and ‘Bye Bye Bye’, making them feel integral to the narrative rather than mere nostalgic filler.

Performance-wise, Nic Myers and Will Callan are perfectly cast as the icy, calculating Kathryn and the charming yet conflicted Sebastian. Their vocals are flawless, delivering powerhouse performances that carry much of the show’s dramatic weight. However, it is Lucy Carter’s portrayal of the geeky, naive Cecile Caldwell that stole the show. With impeccable comedic timing, sharp physicality, and a voice that shines during I’ll Make Love to You, she had the audience in constant fits of laughter.

Meanwhile, Gabriella Williams’ delivery of ‘No Scrubs’ as a prim and prejudiced mother was an amusing and unexpected highlight. Luke Conner Hall and Joe Simmons also stand out as a queer couple, arguably the best dancers in the show, bringing fantastic energy and undeniable chemistry to their roles, adding depth to the production’s modern sensibility.

Despite the strong vocal performances, the acting often feels over-the-top, verging on camp rather than cutting. The monologues and dialogues, while highly theatrical, lack subtlety and occasionally come across as melodramatic rather than emotionally compelling. This stylistic choice at times makes the musical feel more like a parody than a serious adaptation of the film. While the exaggerated performances might appeal to some as a heightened version of the film’s glossy teen angst, others might find it undermines the emotional stakes of the story.

Visually, the production disappoints. The set design, by Polly Sullivan, is static and uninspired, offering little more than an array of interchangeable seating props. This lack of dynamism results in an overall “low-budget” aesthetic, reminiscent of a school drama production rather than a West End/Broadway-calibre show. Considering the film’s opulent setting, a more ambitious and versatile staging approach would have significantly enhanced the experience.

Likewise, while the costume design helps capture the characters’ personalities, it doesn’t do enough to elevate the visual appeal of the production.

Another major drawback is the sound design, overseen by Chris Whybrow. The unnecessarily loud speakers, likely intended to heighten the energy, instead detract from the experience. By the end of the night, I was left nursing a headache. Volume does not equal impact, and the mixing team would do well to find a balance that allows the music to shine without overwhelming the audience.

The production succeeds in its ability to evoke nostalgia. For audiences who came of age in the ‘90s and early 2000s, the soundtrack is a time capsule of a more carefree era, and this alone makes the show an enjoyable experience. The creative team has done an impressive job of integrating these songs in ways that serve the plot rather than simply relying on recognition value.

However, beyond the music, the musical lacks the biting sophistication that made Cruel Intentions a cult favourite in the first place. The film balanced its campy excess with a genuine sense of danger and psychological manipulation, something the musical struggles to achieve.

Ultimately, Cruel Intentions: The ’90s Musical is an enjoyable albeit flawed trip down memory lane. Its biggest strength lies in its outstanding vocal performances and nostalgic soundtrack, with creative arrangements that breathe new life into classic hits. However, exaggerated acting, a lacklustre set, and questionable technical choices hold it back from being truly great.

It’s a fun night out for fans, but it falls short of capturing the seductive sophistication that made the original film such an enduring guilty pleasure.

(Another criticism can be given to the programme, which contains nothing about the production other than cast bios!).

Cruel Intentions: The ’90s Musical runs at Palace Theatre Manchester until March 29 and tours the UK until June 28.

Photo: Pamela Raith