Where can a student find saucy sex, deliberate deception and lustful lies on a Friday night? No, not the typical college booze bash, but rather ISU Theatre’s production of “Les Liaisons Dangereueses.”

“Les Liaisons Dangereueses” is a story of everyday emotion driven to the edges of excess, greed and revenge.

Jane Cox, associate professor of theatre and director of the show, says “Les Liaisons Dangereueses” has a scandalous past.

“When it was written, [Les Liaisons Dangereueses] was considered dangerous because the manipulators of the innocent have qualities people like,” Cox says.

In 1985, Christopher Hampton adapted the play (translated “Dangerous Liaisons”) for the Royal Shakespeare Company from Chaderlos de Laclos’ 1782 novel.

“The play received unbelievable acclaim in London,” Cox says. “Once it moved to New York, it began to show everywhere in the United States.”

The popularity spawned three feature-length films based on the play: “Dangerous Liaisons” (with John Malkovich, Glenn Close, Keanu Reeves, Michelle Pfeiffer and Uma Thurman), “Valmont” and “Cruel Intentions” (with Sarah Michelle Gellar, Ryan Phillipe and Reese Witherspoon).

Though the play is set in aristocratic France before the revolution, the themes of sexual tendencies and exploitation remain universal.

Laclos’ ability to capture the cruel realities of life almost cost him his career. Many scholars of the time ordered the book to be burned due to its content.

The ISU production is set in the original period, including lavish wardrobe (wigs, bust-enhancing gowns, knickers and boots) and intricate yet comfortable set design.

“It’s meant to be applicable to contemporary times,” Cox says. “Instead of using white wigs and distancing from the audience, it’s given a more approachable look.”

Costumes and set may depict the 1700s, but the themes conveyed in this sensuous show tailor to the college demographic.

Molly Vandekrol, freshman in performing arts, plays Marquise de Merteuil, the revenge-driven protagonist who plots with Vicomte de Valmont, played by Dave Byrd, senior in performing arts.

“[Merteuil] has depth, but she doesn’t show that to most of the characters,” Vandekrol explains. “Valmont is the only one she speaks freely with; the other characters get a facade.”

Betrayed by Valmont, Merteuil makes arrangements to manipulate and destroy everything close to him, while displaying her control over the other unwitting characters.

Valmont challenges Merteuil, saying that his control maneuvers are just as effective. He makes Madame de Tourvel, played by Lorainna Williams, freshman in performing arts, his lustful conquest, while “educating” Cecile to the skilled art of sex.

Melissa Larsen, sophomore in performing arts, plays Cecile de Volanges, a young and naive girl sent by her mother to receive etiquette lessons from Merteuil.

“She only appears in the first act, but she goes through a lot of changes,” Larsen says. “Before Merteuil and Valmont manipulate her, she is extremely innocent.”

Merteuil recognizes Valmont’s progress and turns up the heat.

“It’s great playing a bitch,” Vandekrol says. “It’s fun to get into manipulating and controlling the other characters.”

Valmont exhibits a powerful presence as his sexual, economic and social reputations combine.

“It’s exciting to be the most sought after man in a city that has people who want you because of prestige, sexual prowess or money,” Byrd says.

Valmont’s pursuit efforts pay off when Tourvel begins to fall in love with him. This soon backfires when he, too, is consumed with passion for her.

“In the beginning she’s stronger. She tries to resist him, eventually falls in love, and everything is all torn away,” Williams says. “It has a lot of emotion, she’s married, but she knows deep down that she cares for someone.”

Vandekrol also understands the true qualities and traits of the character she portrays.

“She thinks she’s a very beautiful person knowing that’s how others see her,” Vandekrol explains. “Even when angered, she maintains a pleasant disposition. She’s very refined and ladylike.”

Ultimately, each character suffers an emotional explosion which leads to the play’s climax and resolution. Actors agree that producing these lifelike emotions benefit the audience, as well as themselves.

“I love the script; the plot appeals to any time period,” Williams says. “The lust, love, revenge, sex and emotion are things people deal with all the time, it doesn’t go out of style.”

Williams adds that the best part is hitting a nerve in the audience and making them forget that they’re at a play.

“As a performer, I like to take a quick look into the audience and see all the people on the edge of their chair waiting for the next line; knowing you’re entertaining people,” Byrd agrees.

Vandekrol concludes that “Les Liaisons Dangereueses” will make the audience recognize that, in real life, everyone plays games with each other.