The National Theatre’s award‑hauled staging of Les Liaisons Dangereuses arrives in select cinemas worldwide on June 25, with a later release on the National Theatre at Home streaming service—bringing a West End production to international audiences who may never make it to London. This capture offers a rare chance to see a theatre show filmed with top‑tier movie cameras and edited for the screen, changing how many people will experience contemporary British theatre.
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The filmed production, presented by National Theatre Live, translates a three‑hour West End run into a cinema event and a later streaming release. NT Live has already reached more than 13 million viewers globally, and this release continues that push to widen access to large‑scale British theatre without the premium ticket price or the travel.
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At the centre of the piece are Lesley Manville and Aiden Turner in the key roles of the Marquise de Merteuil and the Vicomte de Valmont. For viewers who remember the 1988 film adaptation, this is a theatrical re‑imagining with stripped‑back yet striking design choices and carefully staged ensemble movement.
How the stage was turned into cinema
Rather than a single fixed camera, the recording used a multi‑camera setup across two performances. Editors then assemble the final cut from those takes, ensuring continuity and removing small on‑stage imperfections.
Seven cameras—part of high‑end ARRI systems commonly used on major streaming platform productions—were placed around the house. One camera runs on a remote dolly that moves along a short track; operators control it from adjacent mobile units rather than standing in the auditorium.
The production’s technical footprint sits outside the theatre in two mobile vans: a video control unit monitoring numbered feeds and a separate audio mixing truck. Together they allow real‑time mixing and the removal of audience noises, delivering a cleaner, more intimate sound for cinema audiences.
What audiences should expect on screen
Theatregoers who prefer wide‑angle views will find something different: the film edit privileges close‑ups, facial micro‑expressions and choreographed group sequences that read differently in a theatre seat. The show’s set is deliberately minimal; moving mirrors and ensemble choreography create striking visual compositions that camera work magnifies.
- Screening dates: Select cinemas from June 25; streaming on National Theatre at Home to follow later in the year.
- Runtime: Approximately three hours (with intermission in stage presentations).
- Key cast: Lesley Manville (Marquise de Merteuil), Aiden Turner (Vicomte de Valmont).
- Technical note: Filmed over two performances using ARRI camera systems, multiple fixed cameras and a remote‑operated dolly.
- Producer: National Theatre Live, which has a global distribution network for filmed theatre.
For viewers unable to attend a London performance, this format offers the most faithful available version: the staging’s scale and the performers’ energy are preserved while editors create a coherent cinematic narrative. The cameras bring the actors’ subtleties into relief in ways that even front‑row seats can miss.
One practical difference between recorded and truly broadcast performances is the satellite link required for live international cinema transmissions. When productions are shown live, the team secures live broadcast feeds via satellite partners, a process that involves scheduling and coordination with international channels.
Seen in this light, the cinema release of Les Liaisons Dangereuses is both a document of a specific West End production and a deliberately crafted filmic experience. Whether you prefer the accidental immediacy of live theatre or the editorial polish of a filmed version, this release makes the same production accessible to a much wider audience.
If you’re deciding whether to go: expect close framing, a spare but dynamic design, and performances captured with cinema‑grade equipment—elements that reshape how the classic play reads outside the theatre.
Jessica Morrison is a seasoned entertainment writer with over a decade of experience covering television, film, and pop culture. After earning a degree in journalism from New York University, she worked as a freelance writer for various entertainment magazines before joining red94.net. Her expertise lies in analyzing television series, from groundbreaking dramas to light-hearted comedies, and she often provides in-depth reviews and industry insights. Outside of writing, Jessica is an avid film buff and enjoys discovering new indie movies at local festivals.