Skip to main content

Review of Cruel Intentions: The '90s Musical at Royal & Derngate (Derngate), Northampton

Cruel Intentions, released in the final year of the nineties, is a fondly regarded classic from the era, rammed with a collection of young and up-and-coming stars. Based on the classic Les Liaisons dangereuses, Roger Kumble's nineties update was clever and current; however, a quarter of a century later and now playing at Royal & Derngate, does it still work, and more importantly, does it work as a musical?

The quick answer to the latter is no, but theatre persists, so what about the story? Kumble's adaptation tells of two wealthy step-siblings, Sebastian Valmont and Kathryn Merteul, sex-obsessed, constantly warring, and attracted to one another. When they begin a bet for Sebastian to deflower the new headmaster's daughter, Annette Hargrove, before the start of term, events spiral quickly out of control.

Following in the footsteps of the well-remembered performers from the film does weigh on the cast. Will Callan, playing Sebastian, and Nic Myers, as Kathryn, are fine performers but struggle to convey the seductiveness needed for the roles. Their chemistry together, simmering in the original, lacks in many areas, and this is a key part of the story, which is sorely missed.

There is better success elsewhere. Lucy Carter is perfectly clumsy and awkward as Cecile Caldwell, bringing the character into her musical performances as well. Abbie Budden is sweet and effective as Annette Hargrove, not allowing herself to be overshadowed by the performance of the past and making it her own.

Luke Conner Hall as Blaine Tuttle and Joe Simmons as Greg McConnell work well with the material given to the gay characters of the original. The film didn't showcase them well initially, and this musical adaptation does add some further unnecessary vulgarity to the pair. However, what it accomplishes from the expansion of their characters is a loving continuousness of their relationship, which is simply cast aside in the film.

As is typical of a jukebox musical, it's a mixture of successes and absolute failures to bring songs of the time into the show. The best ones are the songs included in the original film, like Colorblind, Lovefool and the tremendously powerful Bittersweet Symphony. However, some just crashed into the mix for very little reason; Wannabe, neither on the film nor indeed on the original musical soundtrack, has seemingly just been awkwardly added for a British audience. While the inclusion of No Scrubs, performed by Mrs Caldwell, is one of the worst jukebox inclusions ever.

Positives from the show are the production, crisp scene changes constantly keep the show moving, and Polly Sullivan's grand set, which creates the home of the siblings Kathryn and Sebastian, provides a suitable backdrop for the multiple locations to develop upon. Music is provided on stage by musical director Will Joy and his band, who bring to life the nineties classics with style.


The choreography from Gary Lloyd is a mixed bag. It succeeds best when channelling the boy band styles of the era but less so when it attempts to go its way and looks a little loose. There is a nice piece of contemporary dance; however, mixing it up during the song Colorblind gives a moment of variety.

Director Jonathan O'Boyle has clearly encouraged the cast to overplay many of the jokey moments, creating at times more humour than the original, but often also in such a slapstick manner that it sucks the drama from the story.

While Cruel Intentions has its moments, including the decisive and best scene with the musical number Bitter Sweet Sympathy, it doesn't sit well as a musical with songs shoehorned into proceedings to often little success. It is so frustrating that there is a constant need to make musicals out of films where they are not needed. However, theatre must strive for audiences, and while we critics may frown on the quality of these shows, looking around at the audiences filling the theatre means there is little chance of stopping these shows now. However, I will always think of what a cracking play this could have been while I sat in a half-filled theatre.

Strong staging and a thrilling nineties feel don't elevate this above a mediocre jukebox musical.

Performance reviewed: Tuesday, 18th March 2025, at the Royal & Derngate (Derngate), Northampton.

Cruel Intentions: The '90s Musical is on stage at Royal & Derngate until Saturday, 22nd March 2025.

For further details about the Royal & Derngate and to book tickets, see their website at http://www.royalandderngate.co.uk

Photos: Pamela Raith Photography


Popular posts from this blog

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of Lord Of The Dance at Royal & Derngate (Derngate), Northampton

The stage show Lord of the Dance possibly needs little introduction to most people, as it has become a legend and now, in this touring version, subtitled rather immodestly, 25 Years of Standing Ovations, it reaches a landmark anniversary. Those that do not know of the show would probably well know its spiritual fathers Michael Flatley, and even more likely Riverdance , from which Lord of the Dance sprung with a proper spring in its step. During the interval of the 1994 Eurovision Song Contest, Riverdance hit the world by storm as Michael Flatley and his troop of dancers possibly presented the most famous part of Eurovision ever, certainly of the non-singing variety at least. Here, this touring show brings that same style Flatley created from traditional Irish dancing across the country once again and it is truly something special to see. The concept of the show is simply a battle between good and evil told through dance, and some captivating and stunning songs performed by Celyn Cartw...

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas ...