Dangerous Liaisons is a co-production between Queensland Ballet and Texas Ballet Theater, choreographed by Liam Scarlett and set to music by Camille Saint-Saëns. With set and costumes designed by Tracy Grant Lord and lighting by Kendall Smith, this vivid interpretation of Pierre Choderlos de Laclos’ novel, Les Liaisons dangereuses also features Georgia Swan, soloist at Queensland Ballet, who is dancing the role of Marquise de Merteuil. Read our interview with her below.
Bonjour Georgia, you’re playing the Marquise de Merteuil in Queensland Ballet’s Dangerous Liaisons. Please tell us about the role.
This role is one of my all-time favourites! Merteuil is powerful, manipulative and strong. To portray her is such a pleasure.
You’re also no stranger to the role. What is it like stepping back into the role of Marquise de Merteuil this season?
As soon as I found out we were performing Dangerous Liaisons again I couldn’t wait to delve back into it. It is such a complex narrative with so many underlying stories running through it, I love the challenge of telling the story through just movement. It is an epic ballet and incredible role I would happily perform repeatedly!
How has your interpretation of her evolved since the last time you performed her?
I have tried to be a little more nuanced this time around, over the past 6 years since becoming Merteuil I have grown and learnt a lot as an artist so I hope it only will add to the story telling this time around.
The Marquise is powerful, witty, and manipulative — what qualities in her character resonate most with you as a dancer?
I adore how powerful she is, that she can be still and command an entire room is a hard thing to do so trying to sit comfortably in the stillness is something I always enjoy playing with on stage.
Do you find it more challenging to play such a morally complex character than a classical heroine?
It does come with its difficulties playing such a complex character; however, I love stories like this! The more drama and story to tell the better! It only adds to my thought process of how to show the audience over the performance how complex she is and when to show certain qualities as it unfolds.
How do you bring across her intriguing layers through pure movement without words?
I would say for Merteuil it would be power in the stillness. As a dancer it can be unnerving to be still on stage, but for this role it only adds to her gravitas. As the ballet goes on, vulnerabilities start to creep in, but she always put on her brave face for society.
Merteuil is often seen as both villain and feminist ahead of her time. Where do you think she sits between those extremes?
Merteuil is at the extreme of both! She definitely is the villain alongside Valmont, but I think it can be hard for the audience to truly hate her because she still commands that respect and carries herself with class and elegance. People hate her but can’t stop watching her at the same time. This does go concurrently with being a feminist which is so unusual for the time. You see time and time again in this ballet that it’s a man’s world and she is holding her own in it.
What do you want the audience to feel about her by the end of the ballet?
That is difficult because I think everyone will walk away feeling differently. Some may be empathetic, but then others could be completely disgusted by Merteuil and what unfolds. If I make the audience feel any sort of emotion, then I’m happy.
Do you see Merteuil as the ultimate strategist — or as someone undone by her own game?
Both, I think she was only undone by her own game because Valmont makes the ultimate final move. She has only succeeded so well because of her brilliant scheming.
How do you embody her status and authority through gesture, posture, and use of stage space?
Her posture is strong, elegant yet powerful. Gestures can be minimal sometimes because she has everyone in the palm of her hand. As for using the space I try to be as expansive as I can with my movements and covering the stage to accentuate her strength and power.
Are there particular pas de deux or confrontations that you find especially thrilling to perform?
All of Act 2 for me is thrilling really! There is an amazing pas de deux with Valmont that is passionate and powerful. But then Merteuil’s solo at the end I get so lost in the story it is truly a pleasure and privilege to do.
How do costumes and wigs inform the way you move in this role?
The costumes, wig and makeup feel like the final piece of the character to me. All the hard work has been done but I really feel like her when I have everything come together. Makes me feel so glamourous and powerful.
What musical themes help anchor you emotionally in her world?
The entire score for this ballet is just breathtaking as it aligns so perfectly with the story. Because it is such powerful and beautiful music it immediately transports you right into her world. That is the genius of Liam Scarlett – to perfectly pair the music and create this magic.
What drew you most to Merteuil when you were first cast in Dangerous Liaisons?
I just felt so grateful to have been given the opportunity! To be trusted with such a strong character is something that I don’t take lightly as I want to do it justice! I feel the second time around I can enjoy and relish in it even more.
Has playing her changed the way you think about strong female roles in ballet?
Not necessarily, as any chance to play a strong female character I enjoy. I also just love an array of different characters to challenge my acting skills, but it is always so nice to see strong female lead roles on stage.
This is a ballet filled with manipulation, seduction, and betrayal — how do you ‘leave it behind’ once you exit the stage?
The dancers this season have been doing “check ins/outs” with each other just to see how we are feeling that day or even that minute. I think it is such an important thing to do with quite a heavy storyline at times. Don’t get me wrong I do feel emotionally exhausted after performing this, but I think being able to talk about it with my peers is super helpful.
If you could ask the Marquise herself one question across the centuries, what would it be?
Why did you do it? She was her own demise in the end, and it does intrigue me as she already had it all, so why? Purely just for her own entertainment and games?
Why should people come to see this performance of Dangerous Liaisons?
It truly is such a masterpiece. I feel so incredibly honoured and privileged to be able to perform this ballet. If you are familiar with Liam Scarlett’s work, then you know how special it is. Everything from the story, characters, costumes, sets and music is all epically beautiful. I want to share this incredible gem with as many people as we can, it’s a must see!
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We thank Georgia Swan for this interview.
KEY INFO FOR DANGEROUS LIAISONS
WHAT : Queensland Ballet’s Dangerous Liaisons
WHEN: 4, 7 to 11 and 13 to 18 October 2025
WHERE:Talbot Theatre, Thomas Dixon Centre WEST END, BRISBANE
HOW: Buy your tickets via this link
HOW MUCH: Ticket prices (excluding booking fee) are as follows:
- Adult $149
- Concession $127
- 30 and under $120
- Child $75
- Group $127 per person
- School groups $35 per person
Have you ever been to see Dangerous Liaisons?
