Cruel Intentions: The '90s Musical review – nostalgia never felt so wicked

Even though it’s a cult movie that seemingly everyone of a certain generation loves, nay adores, 1999’s Cruel Intentions never quite managed to repeat its winning formula, despite several attempts. Based on the 1782 novel Les Liaisons dangereuses (or Dangerous Liaisons), the Sarah Michelle Gellar film spawned two abandoned TV series (a third reboot is imminent) and a tenuous straight-to-DVD sequel.

Why, then, is Cruel Intentions: The ‘90s Musical such a surefire hit?

From the moment you walk into the theatre at The Other Palace you’re treated to music from the 1990s serving as a pre-show warm up. It’s an indication of the evening ahead, with the Gold-certified soundtrack album giving way to some of the greatest hits of the decade. Yes, it’s a jukebox musical, featuring nearly 30 songs – or parts of them – but it’s pitched just right for an audience ready to wallow in classic pop history.

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This is an expanded version of the show first performed in the UK at the 2019 Edinburgh Fringe. Now there are two packed acts and a revolving stage resembling a circular marble floor, with flickering candelabras and windows showing a ‘90s New York skyline, with the Twin Towers in the distance. Platforms raised slightly around the stage serve as something of a catwalk that, along with the moving set, the cast put to excellent use throughout.

The story remains the same – the script is practically the film word-for-word. Wealthy Manhattan step-siblings Sebastian Valmont and Kathryn Merteuil are hellbent on destroying the lives of other people – and possibly themselves – in the pursuit of revenge, social standing and sexual conquest.

The show begins where the film ends, with those opening strings from The Verve’s Bittersweet Symphony before segueing into the action with Placebo’s Every You, Every Me.

Those expecting to hear the iconic film soundtrack in full will be surprised to hear that these, along with Colorblind by Counting Crows, are the only numbers present. That said, Lovefool by The Cardigans didn’t make it to the soundtrack release but becomes a central part of the storyline here.

Instead, by the second number it deviates to better explain the production’s title, with songs from the ‘90s that everyone in the audience seems to know and the show plays to that nostalgia. In fact, there’s knowing laughter from the first chords, with people only too aware of how an iconic pop or indie classic is going to play into the upcoming scene.

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It’s a show that knowingly leans into its camp elements, yet doesn’t overplay them. There’s a ridiculous version of TLC’s No Scrubs, a sexual awakening to The Sign by Ace Of Base, a blinding performance of Meredith Brooks’ Bitch. Spice Girls number Wannabe was added to the show for the first time only two days prior to opening night – giving the cast just two days to rehearse. It doesn’t show in the performance and goes down a storm with the audience. In parts it feels more like a concert, with everyone knowing and loving the songs.

The cast give their all – Rhianne-Louise McCaulsky as Kathryn has a sensational voice and Rose Galbraith as Cecille is a standout in a stellar company clearly having a ball and deserving of the standing ovation and deafening applause.

It keeps up a swift pace. Characters appear on the balcony – where the band are also situated – throughout the performance to denote breakaway scenes and phone conversations. It’s cleverly done and executed well by director Jonathan O’Boyle, breaking from the drama to the pop video choreography of Gary Lloyd with ease.

That pool scene is present, with dry ice covering the stage but little else. How the final showdown – one of the greatest scenes in cinematic history – is handled is so outrageously over the top that it’s borderline genius.

It’s slick, it’s sexy – in short, it’s London’s newest must-see musical and surely destined for the same cult status as the movie.

Cruel Intentions: The ‘90s Musical is at The Other Palace in London until 14 April, tickets available here.