What started as a low-budget indie film, Cruel Intentions transformed into a cult classic, providing a platform for the likes of Reese Witherspoon and Selma Blair to catapult to stardom.

The 1999 movie is a ‘modern’ retelling of Les Liaisons dangereuses, swapping 18th-century France for the snobbery of upper-class teenagers in 1990s New York City. However, rather than sticking to the themes of classism, the movie—and now the musical—adds in casual homophobic slurs, racism, and an ableist joke for good measure—all of which could have been easily omitted and replaced with intelligent, inclusive humor to satisfy all audience members.

That being said, the key word of the production is cruel, and although you might be blindsided or disconcerted at times, on the whole, the show is entertaining. Even if you’re laughing at some of the shoehorned songs, I defy you not to laugh out loud at least once. A standout performance comes from Lucy Carter as the naïve Cecile Caldwell, who, particularly during Act 2, delivers a dynamic and caricatured portrayal of her big-screen counterpart. Had the direction from Jonathan O’Boyle leaned into this more, it could have resulted in something more memorable.
Additionally, Luke Conner Hall as Blaine gives a spirited portrayal of a lesser-known character, taking every line to 110%, grabbing every moment, and stealing every scene.

As with most adaptations, it’s difficult not to compare. Though the leading cast—Will Callan (Sebastian), Nic Myers (Kathryn), and Abbie Budden (Annette)—all get their moment to shine and clearly know exactly who their characters are, the direction and crowded song list hinder their performances, preventing them from organically portraying their respective roles. This is equally reflected in Gary Lloyd’s choreography, which at times felt awkward and stood out for the wrong reasons, a key example being during Colorblind, where the audience around us laughed at what should have been one of the more poignant parts of the show.

Polly Sullivan has produced a sleek and purposeful set, aiding sharp scene transitions with the use of levels, props, and era-appropriate costumes, taking the audience to various locations. Nick Richings’ lighting design is equally of the time, reminiscent of 90s concerts with its rigging, yet elevated to create immersion for the audience, particularly during the NSYNC scene (had to), with punchy sound design from Chris Whybrow.

Cruel Intentions – The 90s Musical may be confused in its identity, but fans of the film and/or 90s music will have a nostalgic night at the theatre. If the creatives were to hone in on parody, rethink some songs, and remove the problematic language, it could also become a cult classic of its genre.

The run continues at The Palace Theatre in Manchester until Saturday 29th March, further details and booking information can be found here.

Tickets received in exchange for an honest review.

Photography by Pamela Raith.