The Huntington Theatre Company, resident in the B.U. Theatre, is fortunate to have the services of the University's College of Fine Arts scene shop and costume department, the equal to any in the country. The almost unlimited student power these afford have led to a grandiosity which has allowed them to create lavish period productions during their 24 year tenure. "Les Liaisons Dangereuse" is mounted on multilevel set designed by James Noone--best known here for his "Dead End"-- while impressive from the mid-orchestra has the usual sightline problems for the auditorium sides and balcony in its upper reaches. The decor, which includes many electronic "candles" twinkling throughout, becomes irrelevant and since scenes from the show have at least a dozen separate settings, only furniture, moved by costumed servants, serves to define these. The costumery by Yale trained Erin Chainani attempts to combine modern touches with period line, hence the Vicomte first appears in pin-stripes and the Marquise has bewildering taste in fabric.

The two leading characters, the consummate schemer, La Marquise de Merteuil, played by Tasha Cashman and the dedicated seducer, Le Vicomte de Valmont, played Michael T. Weiss, seen here last season as Pale in "Burn This", set the tone for the show, and doom it to insignificance. Each barely connects with the audience, and seldom with each other. Consequently, there's little reason to care for either of their fates. Yvonne Woods, as pious Mme. de Tourvel, the young wife of a magistrate and Valmont's chief victim, provokes some sympathy, however. But director Daniel Goldstein, who sends his cast scurrying upstairs and down, seems to have paid little attention to the emotional relationship between the characters, without which this drama about hollow people becomes totally empty. He's also encouraged colloquial speech, in hopes perhaps of reaching a "modern" audience, which fails to suggest the training of those involved in the complex social charade.

Alice Duffy playing Valmont's indomitable aunt appears that the tones of class appear. For example, Louisa Krause, as Cecile, the daughter of one of the Marquise friends fresh from the convent--who incidentally has the show's nude scene--has a suggestion of Valley Girl in her intonation as Valmont seduces her. Ann Talman, as her mother, Mme. de Volanges, might as well be the dim-witted neighbor in a sit-com rather than a society matron. Similarly, Jeff Barry, as Chevalier Danceny, Cecile's overly-romantic boyfriend simply sounds like another refugee from teen angst TV. Even ASP's Jennie Israel, who first appears in lingerie as Valmont's favorite courtesan Emilie, adopts a modern tone, thus becoming indistinguishable from the pack. One of the bright spots in the action is recent Carnegie-Mellon grad Seth Fisher as Valmont's valet, Azolan. However, his pretensions and comic potential are diminished by the general lack of social distinction. Indeed, it's unfortunate that HTC veteran James Bodge as the Major Domo only gets to whisper unheard to his masters.

In another attempt to make the production more contemporary, composer Loren Toolajian has combined period themes and instruments with modern bass lines. The result is mostly trivial. Lighting designer Mark Stanley, from the BU faculty, deals with the levels and size of the set as best he can, given the fixed lighting positions in this historic hall. There are unfortunate holes in the coverage which disrupt the focus in several key scenes, and the reflective nature of the wall treatment results in occasional distraction. And then there are the twinkling candles, flashing in tune with the circuits in the light board; certainly a modern touch, but not an asset.

All in all,HTC's latest effort is a tedious disappointment. While Christopher Hampton's 1985 script is limited by its uneven action, the dismal pace of most of this production is uncalled for. By contrast, one of the area's longtime community theatres, the Hovey Players in Waltham, are mounting the same show with an experienced local cast in their intimate basement theater. Their pace is superior, the two leads exhibit complex emotions, and the ensemble is much tighter. It is possible to feel for these characters from another age, even those one must disapprove of. No updating is required to understand the social trap this doomed aristocracy is in and to connect with their human foibles. However, three movie versions, Vadim's in 1959, the 1988 Oscar winner, and Forman's "Valmont" have delved far deeper into this period classic than a stage production really can. The live thatre must therefore make human contact its primary goal.