‘Cruel Intentions: The ‘90s Musical’ @ The Beacon Theatre

—Jan Farrington

The 18th-century French novel Les Liaisons Dangereuses (by the intimidatingly named Pierre Choderlos de Laclos) has survived through so many versions—books (the OG plus adaptations in many languages), stage plays, movies domestic and foreign, radio versions (nothing to see here), operas, ballets—and my favorite, a short book titled Dangerous Tweets, with a single Tweet squeezing out each letter of the story. (The original novel told the tale through the mail, in letters exchanged by the main schemers.)

In short, an R-rated musical full of (mostly) underage sex (and almost-sex) isn’t likely to disturb an old French ghost. Pierre must be used to it. In fact, it’s a sure bet he’s the type who’d like to watch.

So, light’s up in Plano’s Cox Playhouse for The Beacon Theatre’s lively, don’t-bring-the-kids production of Cruel Intentions: the ‘90s Musical—itself a riff on the popular 1999 movie with Sarah Michelle Gellar. Directed well by Candy Von Jameson, with music direction by Nicholaus Estep, the show was created by Roger Kumble (who did the ‘90s movie), Jordan Ross, and Lindsey Rosin.

This was my first time at a Beacon Theatre show (the company was founded in 2025), and I liked the vibe: that everyone on stage looked to be having plenty of fun singing, dancing, and stretching theater muscles to play these parts. And more than one cast member noted (in the program bios) that this particular show is a favorite, and a “dream realized.”

The Beacon’s program says the company is an “inclusive, supportive theatre for all” with a special focus on Latin, queer, and/or adults 30 and up—hoping to provide “a warm, flexible environment for performers with busy personal lives…. Community and creative escape are essential. We uplift artists, build belonging, and celebrate stories that reflect our lives.” Ambitious, but that sense of creative escape and “happy to be here” performance style was what I felt from the stage—and enjoyed.

The vintage ‘90s choreography kept energy high (it’s credited to Meghann DiMascio, Gernelle “Elle” Nelson, and Kayla Bonina), and the string of ‘90s pop hits clearly pushed some buttons for nostalgic Gen Zers in the audience; there were standout voices in the mix, and some that didn’t carry too well over the recorded soundtrack. The song list for versions of this musical shifts quite a lot, but in this show included “Kiss Me,” “Bye Bye Bye,” “The Sign.” “I’ll Make Love to You,” “Lovefool,” and “Sunday Morning.” (If you listened, each song connected to the plot one way or another….I think.)

The set (also by Nicholaus Epstep) was Manhattan-posh: grand family portraits flanked by fancy chaise lounges—on wheels, and constantly moving to become new & different parts of the action. (The family’s two grumbling Maids moved them, endlessly; more on that later.) Andrea Fernandez Tom did the lighting—and since she doubles as the intimacy director, she must know when to dim the watts. And like all busy stage managers, Corey Wilson needs a day to put her feet up.

To be blunt, it isn’t easy to find anyone to like among the main characters of Cruel Intentions. After a while, it doesn’t seem to matter. Step-siblings Kathryn (Necia Poulsen) and Sebastian (Mario Estep) are wild beasts with designer clothes, into drugs, theft, rape, and “fun” bets on who can ruin more lives. Why not? Let’s try Cecile (Elena Butterfield), the naive newbie at their prep school (she thinks she’s in luv with nerdy music teacher Ronaldo (Eric Alexander Garcia), or Annette (Bethny Joy Lown), the uber-religious headmaster’s daughter. Estep and Poulsen do have great voices and plenty of style—just no visible morals or qualms.

The cutest duo on the dance floor, in fact, is the on-again/off-again gay couple who keep on the down low—artsy Blaine (Scott Bryan) and jock Greg (Danny Vanegas). Bryan has the more classic musical voice, clear and charming; Vanegas can sing well too, but his crisp, edgy dance style might keep you too busy to hear him.

Still, the plot allows for some soul-saving—though we can’t know whether it’s permanent or just another parlor game. Various characters find deeper thoughts to think, deeper emotions to feel…and meet fates we don’t expect. It’s a throwback to Leclos’ decadent novel of more than 200 years ago: he gave his characters (a few) a hint of a conscience too.

‍Everyone in the big cast gets some moment to shine—but three performers just about steal the show at memorable moments. Catherine Hesse plays Mrs. Caldwell, the society cougar (and sweet Cecile’s amoral Mom) who roams the prep school looking for her latest. Her dancing is strip-club raunchy and unembarrassed as she swings through the preppy dancers—and makes them look tame. During the scene changes and the intermission, the overworked Maids in Kathryn & Sebastian’s house work their rears off and cuss up a storm—and in the intermission smoke and do stand-up, with audience members ready to rumble with them. It’s great fun from Meghann DiMascio (who briefly plays a shrink in the show) and stage manager Corey Wilson (who does get to put her feet up after all…on the furniture.)

WHEN: October 1-10, 2026
WHERE: Cox Playhouse, 1517 H Avenue, Plano TX
WEB: thebeacontheatretx.com