Liam Scarlett’s adaptation of Pierre Choderlos de Laclos’s 1782 epistolary novel Les Liaisons dangereuses is all about the feels rather than the storytelling, the feels in this case primarily being sex.

Let’s put it this way. Ballet is obviously a place where close contact is a given in the workplace but intimacy coordinator Nerida Matthaei must have been working overtime during rehearsals for Queensland Ballet’s revival.

The material asks for a robust approach to physical relationships and Scarlett obliged enthusiastically, too much so really.

Edison Manuel and Georgia Swan in Dangerous Liaisons. Photo © David Kelly

The ballet opens with the Marquise de Merteuil (Georgia Swan on opening night) having a tumble with one of her lovers over the dead body of her husband (literally – we’re at his funeral) and that’s one of the tamer get-togethers.

From that moment the hyper-entangled pas de deux just keep on coming. A brothel scene feels as if it will never end. Scorching glances and wandering hands are everywhere. There’s a touch of romance here and there but even that is enlivened with an erotic charge.

The truth is that ballet is a tricky medium for this story. In Dangerous Liaisons sex is a game, mostly cruel and played to alleviate boredom and gain advantage. It’s impossible to convey in any detail the complicated set of intertwining goals driving the narrative.

Merteuil has loads of admirers but really hungers for the one that got away, Vicomte de Valmont (Edison Manuel). These decadent, destructive aristos put their heads together to amuse themselves and deliver retribution for slights, a pact understood only to those who have read the book, seen the film or read the program.

Things go wrong when Valmont, usually an equal opportunity predator who couldn’t possibly restrict his amorous activities to just one person, meets virtuous Madame de Tourvel (Lucy Green) and is also persuaded to compromise innocent young Cécile Volanges (Yanela Pinera). The roundelay begins.

Georgia Swan in Dangerous Liaisons. Photo © David Kelly

Even experienced Dangerous Liaisons hands may find themselves puzzled during the over-crowded first act. Who are all these people and what do they want, apart from sex?

The second half is stronger. Who is who has been sorted out and the broad themes come into sharper focus: manipulation, secrecy, over-whelming desire, the potency of letters and the danger of keeping them and, above all, the peril inherent in not realising when one has gone too far.

It’s fascinating to see to what degree the ballet focuses on written correspondence – remember, Les Liaisons dangereuses is an epistolary novel – and whispered confidences. The choice gives the ballet a strong visual through-line. The downside is that the audience is left to make guesses about many of these communications.

Still, it’s a good look in a production that dazzles the eye. Designer Tracy Grant Lord puts the action on a spare, evocatively revolving set that reveals all sorts of rooms and private spaces. She also created a particularly ravishing collection of gowns for the women. Rich reds and purples abound and it was exceedingly clever to have underlays of acid green. It’s a marvellous colour for a work in which spite plays a large part.

Lucy Green in Dangerous Liaisons. Photo © David Kelly

Scarlett appears to have been much influenced by Kenneth MacMillan’s Manon but he also developed splendidly individual movement languages for his protagonists. Merteuil and Valmont, who is the very definition of a fox in the hen house, grapple lasciviously, slink and prowl. Tourvel is the picture of innocent openness; Valmont’s valet Azolan (Ivan Surodeev, buoyant on opening night) a lively accomplice to his master; Cécile shy but persuadable; Danceny (Rian Thompson) youthful and ardent.

The bad news is that Dangerous Liaisons is in the wrong theatre and, depressingly, danced to recorded music. Blame QB’s recent financial difficulties and subsequent belt-tightening.

It’s not good enough though. British composer and conductor Martin Yates expertly fashioned selections from the music of Saint-Saëns into a terrific score for dance, as audiences could hear in the 2019 performances for which Camerata – Queensland’s Chamber Orchestra played live.

This time around the audience hears Camerata’s recording of the music with QB’s music director, Nigel Gaynor, conducting. There’s nothing wrong with the recording but as always, the spark of immediacy and natural glow in the sound are missing. Gaynor, by the way, leaves at the end of the year due to QB’s budget cuts.

Queensland Ballet’s Dangerous Liaisons. Photo © David Kelly

The Thomas Dixon Centre’s 350-seat Talbot Theatre is a wonderful resource, but not for a ballet of this kind. The auditorium feels about the same size as the stage. Still, it was heartening to see how the QB dancers immersed themselves in their roles. There was nowhere for anyone to hide.

It’s been a tough time for them but all gave themselves without reserve. Swan was stunning, a chilly manipulator who tore herself apart when she over-reached. Manuel was a wonderfully alluring Valmont in this hugely gruelling role and Green a radiant Tourvel.

The second cast had its own personality, somewhat less ferocious than the first but Green (Merteuil), Rian Thompson (Valmont) and Neneka Yoshida (Tourvel) were equally able in their mastery of Scarlett’s intricate, busy choreography. Green, by the way, is just back from maternity leave and looks better than ever. Respect for her Tourvel-Merteuil double on consecutive nights.

There are other casts to come. Because the Talbot is so small there are 18 performances in the season. Lots of opportunities for dancers one supposes. So that’s something.

Dangerous Liaisons is at the Talbot Theatre, Thomas Dixon Centre, Brisbane, until October 18.