The Madrid stage has welcomed a compelling new interpretation of Pierre Choderlos de Laclos’ enduring epistolary novel, "Les Liaisons Dangereuses," with actress Ángela Cremonte embodying the tragically virtuous Madame de Tourvel. The production, helmed by director David Serrano and currently gracing the boards of the Teatro Marquina, offers a contemporary lens on the timeless themes of manipulation, seduction, and the devastating consequences of unchecked ambition. Cremonte, a familiar face to Spanish audiences from her work on television series such as "Hispania" and "Las chicas del cable," steps into the role of a character whose descent from innocence to despair forms the emotional core of this ambitious theatrical endeavor.
A Modern Resonance in an 18th-Century Setting
"Las amistades peligrosas" (Dangerous Liaisons) has captivated audiences for centuries, and this latest iteration aims to underscore its persistent relevance. Cremonte, a Madrid native born in 1982, portrays Madame de Tourvel as a woman of profound purity and unwavering virtue within the rigid social strata of 18th-century French aristocracy. Her character becomes the unwitting pawn in the intricate and morally bankrupt schemes of the amoral Marquise de Merteuil, played by Pilar Castro, and the predatory Vicomte de Valmont, brought to life by Roberto Enríquez. The play, which opened in Madrid following a period of prior performances, has been met with anticipation, particularly given the ensemble’s established theatrical pedigree.
Cremonte describes her character with palpable empathy. "She is a pure soul, an absolutely virtuous heart, as one would say in that era," Cremonte shared in an exclusive interview. "She is essentially a very good person, with immense innocence and naiveté." This portrayal emphasizes Tourvel’s inherent goodness, making her subsequent ensnarement all the more poignant.
The actress firmly believes in the play’s contemporary resonance, drawing a parallel between the historical narrative and modern-day interpersonal dynamics. "We encounter many narcissists daily who break our hearts," she stated. "There is always a moment when one gives 100% in a relationship and doesn’t realize they are in the hands of a wolf in sheep’s clothing. That is absolutely current." This observation highlights how the play’s exploration of emotional manipulation and deceptive charm continues to echo in contemporary society, where such tactics can still lead to profound personal devastation.
The Artistic Journey of Madame de Tourvel
The role of Madame de Tourvel is one that has been etched into cinematic history by iconic performances, notably Michelle Pfeiffer’s nuanced portrayal in the 1988 film adaptation. Cremonte acknowledges the weight of these past interpretations but consciously sought her own path to the character. "Effectively, we all have Michelle Pfeiffer’s incredible performance in our minds from the film," she admitted. "I tried to approach the character with a great deal of calm, as the magnitude of the previous interpretation, especially, overwhelmed me. So, I tried not to overthink it and to approach, above all, the text, where the information lies, and to trust that, intuitively, my body, my soul, would find its place."
This approach underscores a commitment to an organic and intuitive performance. Cremonte explained that while there is an intellectual component to acting, there is also a profound reliance on instinct and emotional depth. "There is a part of the mind and intellectual exercise, and there is another that passes through the subtle and the unknown. So, there is a part of trying to let go and trying to find within myself the vulnerability, the fragility, the kindness, the surrender, and the Tourvel that we all carry within us, in a way."
The greatest challenge, according to Cremonte, lies in sustaining the character’s emotional trajectory. "The challenge that it presents me with each night is significant because, practically from the beginning, the character enters a kind of emotional freefall that is very difficult to sustain," she revealed. "For me, it is difficult: I surrender and I launch myself, but it is not easy to enter that space every night. Sometimes one enters better, sometimes worse, but that is the biggest challenge: to repeat something so profound, so intense, and yet so delicate every night."
A Collaborative Triumph on Stage
The production’s staging, which often keeps the entire cast on stage, contributes to an immersive theatrical experience. Cremonte finds this continuous presence beneficial for her performance. "In this case, I believe it helps us," she said. "It helps me maintain concentration and feel part of the game the whole time. If you spend a lot of time offstage, something cools down. In this sense, being on stage helps me. It’s true that sometimes I might want a drink of water and I can’t, and the human within me sometimes suffers from it (laughs), but the actress greatly appreciates it."
The direction of David Serrano has been instrumental in shaping the production and fostering a supportive environment for the actors. "Working with David is a delight because he loves actors and is a person who treats everyone well," Cremonte enthused. "As an actor, one feels cared for, and in rehearsals with David, I have always felt very good, very accompanied." She elaborated on his directorial style, noting his ability to guide with kindness and a positive atmosphere. "Obviously, he is the director, and not everything I did appealed to him, not by a long shot, but he has a way of directing that is so rooted in kindness and good vibes that it greatly facilitates the work. With him, everything is very easy, and he also gives a lot of freedom. He always expects us to propose things as well, he listens to us, he watches us, and then he modifies small things. It is wonderful to work with him."
The analysis of power dynamics and control within relationships, a cornerstone of Laclos’ novel, is a particular point of emphasis in this adaptation. Cremonte asserts the play’s enduring relevance in this regard. "Yes, without a doubt," she stated. "Being from that era, there are details that might seem more anachronistic, but they are just details. Madame de Tourvel is married to someone she does not love and is trapped in that marriage. Today, in the West, we usually choose who we marry, but daily we encounter many narcissists who destroy our hearts."
She reiterates her earlier point: "There is always a moment when one gives 100% in a relationship and does not realize they are in the hands of a wolf in sheep’s clothing. That is absolutely current. And, furthermore, psychopaths like Valmont and Merteuil are the leaders of the world right now, so it is part of everyday life." This bold assertion frames the characters not as historical relics but as archetypes of contemporary societal issues.
The Enduring Power of Live Performance
When asked what resonates most with audiences, Cremonte highlighted the production’s focus on the actors’ craft. "What they usually tell us is that it is incredible that the entire performance rests on the actors," she explained. "In that sense, there is little artifice, little spectacularity in the costumes or the set design. The focus is on acting and the word, and people value that a lot." This emphasis on textual integrity and powerful performances positions the production as a testament to the enduring appeal of pure theatrical storytelling.
In an era increasingly shaped by artificial intelligence, Cremonte champions the irreplaceable value of live theater. "Yes, totally," she affirmed when asked about theater’s necessity in the current landscape. "At least I don’t have enough perspective regarding artificial intelligence to give a very informed opinion, independent of the fact that, of course, I find artificial intelligence in art to be like eating an ice cube. It’s useless, it’s cold, it’s the opposite of what interpreting means, which, as you say, is a collective and liturgical act."
She expressed hope for a continued human need for authentic experiences. "I hope people will want and need a real experience," she continued. "Just as people now want to return to the countryside or the garden, I think we will also want to return to real contact, to real events. And in that, theater is the standard-bearer." This sentiment underscores the unique communal and visceral nature of live performance, offering an antidote to the increasingly digitized and mediated experiences of modern life.
The dynamic nature of audience engagement further enhances the theatrical experience. "Totally," Cremonte agreed when discussing the impact of varying audience energy. "No matter how much we want to do the same performance every day, it is always different. Can you imagine? We do the performance, we press the button, and there you go, every day the same (laughs)." She elaborated on the inherent variability of live performance, citing human emotion, momentary lapses in concentration, and the unpredictable reactions of the audience as factors that ensure no two performances are identical. "It’s impossible. We are human, there are days when we are more emotional and more susceptible, other days when we are colder, other days when we are more mental, or a colleague goes blank, or the audience is sleepy… there are a lot of factors that make each performance different. What does not change is the direction towards which one is going, but the performance is different every day."
Reflections on Television and Future Endeavors
Cremonte also reflected on her significant contributions to television, specifically mentioning her roles in "Hispania" and "Las chicas del cable." "The truth is that both experiences were wonderful," she stated. In "Hispania," she played Sabina, a character she holds dear. "I was younger and had less experience in audiovisual, as it was one of the first things I was doing. I loved the character, Sabina, I enjoyed doing it immensely. It is one of my favorite characters and I have a special affection for it."
Her portrayal of Elisa in "Las chicas del cable" presented a different challenge. "In ‘Las chicas del cable,’ the thing was that Elisa, my character, wasn’t as well-liked," she recalled with a smile. "So, I felt like I had to defend her a lot (laughs), because everyone told me: ‘You’re the bad one, you’re the crazy one,’ and I would reply: ‘Well, I’m going to qualify that a bit’ (laughs). But, well, I really enjoyed the project and I am also very grateful for all the impact it had, and I had a great time with my colleagues."
Looking ahead, Cremonte’s career continues to flourish with exciting new projects. She recently returned from Colombia after filming the fourth season of "La Reina del Sur," an experience she described as intense but rewarding. Her upcoming filmography includes a role in Alfonso Albacete’s new film, "Si te contara," scheduled to begin filming in September. Furthermore, she anticipates embarking on another television series immediately after concluding her run in "Las amistades peligrosas." "I have quite a few things ahead of me, so I am very happy," she concluded, signaling a vibrant and promising future in the performing arts.
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