Striking visual elements highlighted ISU Theater’s “Les Liaisons Dangereuses,” but a lethargic pace betrayed the tension of the play.

As the lights went up, the audience got its first peek at the set, designed by James Wilcox, senior in art and design.

The entire set was a light cream color which, although soft, provided for little visual variety. The set was a realistic, late 18th-century interior, which served well for the many scene changes of the play.

The play opened with La Marquise de Merteuil (Molly VandeKrol), Mme de Volanges (Abigail Vandehaar) and Cecile Volanges (Melissa Larsen), playing cards and gossiping about Le Vicomte de Valmont (David Byrd).

The dresses of the three women were immediately striking. The lavish costumes and makeup, like the set, were a perfect replica of the style of the era. While appropriate for the period, the severe white makeup made the characters seem less real, and distanced them from the audience.

After the scenic elements of “Les Liaisons Dangereuses” wore off, the show had trouble holding the audience’s attention.

Byrd’s Valmont was the most fully realized character in the show. Unlike some of the other performers, he didn’t lose the personality of the character in an attempt to be true to the “period.” Valmont’s determination and aggression were clear, and the moments when his temper flared were among the most compelling of the performance.

At the same time, Byrd muted the charming qualities of Valmont. When Valmont would seduce one of the many women, he was so sinister it was difficult to believe that the women would fall for him.

VandeKrol’s Marquise de Merteuil was driven by the same sinister intentions as Valmont, but where Byrd was smoldering and passionate, VandeKrol was removed and aloof.

Unfortunately, VandeKrol was so removed that she often seemed disconnected from the other characters of the play. La Marquise de Merteuil’s distant nature was an interesting choice, but the performance stayed on that one note for far too long.

A lack of connection between characters was almost universal throughout “Liaisons,” a play which demands connection due to its rich subtext.

For most of the first act, the plot of manipulation and sexual exploitation was easy enough to follow. By the second act, when the manipulations become increasingly complex, the vagaries of relationships between characters blurred the story altogether.

We know from early on that the Valmont has a passion for La Marquise de Merteuil, but due to the measured calm of the performances, it comes as a surprise when we see just how far Valmont’s passion for her will drive him.

Likewise, when Valmont supposedly falls in love with La Presidente de Tourvel, it is unclear exactly what his feelings are. The script suggests one thing, while the performances often dictate another.

The nature of many of the relationships is so unclear that is difficult to empathize with the characters of “Liaisons.” As a result, when the characters suffer varying degrees of tragedy, the effect on the audience is minimal.

While several very suggestive sexual scenes and one well-choreographed rapier fight were exciting, the overall pace of the show was quite slow.

Too many scenes were played out with such gratuitous restraint by each character that many audience members could be heard shuffling their programs, anxiously awaiting the next sex scene or intermission.

“Les Liaisons Dangereuses” was successful in capturing the feel of the 1780s, but it failed to draw the audience into the struggles of the characters.