The nudity may surprise you. The masturbation scene could distract you. The casting might throw you.

Actually, it probably won't. If you're going to check out the "all- male, yet not necessarily gay" intepretation of Les Liaisons Dangereuses now being staged by the Actors' Theatre of Washington, you probably know you're in for something a little edgy.

You're also in for good, gutsy, even groundbreaking theater. Liaisons manages to question your assumptions about gender while still delivering a raw and realistic interpretation of the well-known work by Christopher Hampton.

The play follows the sexual schemes of two former lovers, La Marquise de Merteuil (Jeffrey Johnson) and the Vicomte de Valmont (Christopher Henley). Those familiar with the original piece (or the Close/Malkovich movie adaption Dangerous Liaisons) know the intrigue and rather dire consequences that result from the pair's manipulations (this DCist has a confession: Cruel Intentions was her guide to knowing what was about to happen next).

In ATW's version, men play all of the roles, but the characters aren't at all adapted to adjust for this change. Men simply play women, and not even exactly in drag - each cast member wears a white shirt and black pants, as well as various accoutrements, from rosaries to fans, to give clues about their characters' identities.

At first, the effect is somewhat jolting, and soon becomes intriguing, particularly thanks to the work of Johnson, who absolutely owns the role of Meteuil, capturing her sensuality, wickedness and duality often with a simple hand gesture or smirk. But as the play progresses, you soon come to not even notice the gender of the actors - they simply inhabit the characters, male or female. The effect this has on the audience is noticable; we could barely keep our pronouns straight when discussing the work at intermission.

Photo of Johnson and Henley courtesy of Actors' Theatre of Washington

Beyond Johnson's impeccable performance, casting for Liaisons is solid. Peter Klaus exudes innocence, righteousness and anguish as Tourvel; Michael Way is an amusing, knowing presence as Azolan. Henly brings a charismatic but sinister air to his Valmont, though his interpretation of the character was less conflicted than could be expected. When Meteuil challenges Valmont with the assertion that he has fallen in love with his conquest, the news is as much a surprise to the audience as it is to Valmont, since his interactions with the love interest thus far had seemed much more calculating than sincere, or even divided.

The frequent nudity in the production, while providing a jolt of reality about the actors' true sex each time it appears, is largely used effectively, particularly in a screamingly comical scene where Valmont writes a letter to one romantic interest while occupied with another. Transitions between scenes have a cool elegance; the company also elects to keep every actor onstage throughout the entire production, and it works. What doesn't work is the occasional use of slow motion, particularly in one climactic surrender where two entangled lovers are flanked by a circle of cast members whispering "Yes!", as well as during a later duel.

Les Liaisons Dangereuses runs through September 4 at the Source Theatre, 1835 14th Street. Tickets are $25 Thurs/Sunday, $30 Friday/Saturday, and can be purchased online for a $1.50 surcharge.