  Paris, February 15, 1802. After the beautiful theatre of the old ComÉdie FranÇaise, under its new title of l'OdÉon, became a prey to flames, as I have before mentioned, the comedians belonging it were dispersed on all sides. At length, PICARD assembled a part of them in a house, built at the beginning of the revolution, which, from the name of the street where it is situated, is called the THÉÂTRE LOUVOIS. No colonnade, no exterior decoration announces it as a place of public amusement, and any one might pass it at noon-day without suspecting the circumstance, but for the prices of admission being painted in large characters over the apertures in the wall, where the public deposit their money. This house, which is of a circular form, is divided, into four tiers of boxes. The ornaments in front of them, not being in glaring colours, give, by their pale tint, a striking brilliancy to the dress of the women. PICARD, the manager of this theatre, is the MOLIÈRE of his company; that is, he is at once author and actor, and, in both lines, indefatigable. Undoubtedly, the most striking, and, some say, the only resemblance he bears to the mirror of French comedy, is to be compelled to bring on the stage pieces in so unfinished a state as to be little more than sketches, or, in other words, he is forced to write in order to subsist his company. Thus then, the stock-pieces of this theatre are all of them of his own composition. The greater part are imbroglios bordering on farce. The vis comica to be found in them is not easily understood by foreigners, since it chiefly consists in allusions to local circumstances and sayings of the day. However, they sometimes produce laughter in a surprising degree, but more frequently make those laugh who never blush to laugh at any thing. The most lively of his pieces are Le CollatÉral and la Petite Ville. In the course of last month, he produced one under the name of La Grande Ville, ou les Provinciaux À Paris, which occasioned a violent uproar. The characters of this pseudo-comedy are swindlers or fools; and the spectators insisted that the portraits were either too exact a copy of the originals, or not at all like them. This histrionic author and manager has written some pieces of a serious cast. The principal are, MÉdiocre et Rampant, and L'EntrÉe dans le Monde. As in La Grande Ville, the characters in these are also cheats or fools. Consequently, it was not difficult to conduct the plot, it would have been much more so to render it interesting. These two comedies are written in verse which might almost pass for prose. The ThÉÂtre Louvois is open to all young authors who have the ambition to write for the stage, before they have well stored their mind with the requisites. Novelties here succeed each other with astonishing rapidity. Hence, whatever success PICARD may have met with as an author, he has not been without competitors for his laurels. Out of no less than one hundred and sixty-seven pieces presented for rehearsal and read at this house, one hundred and sixty-five are said to have been refused. Of the two accepted, the one, though written forty years ago, was brought out as a new piece, and damned. However, the ill success of a piece represented here is not remarked; the fall not being great. The friends of this theatre call it La petite Maison de Thalie. They take the part for the whole. It is, in fact, no more than her anti-chamber. As for the drawing-room of the goddess, it is no longer to be found any where in Paris. The performers who compose PICARD'S company do no injustice to his pieces. It is affirmed that this company has what is called, on the French stage, de l'ensemble. With few exceptions, there is an ensemble, as it is very indifferent. For such an interpretation to be correct, it would be necessary for all the comedians of the ThÉÂtre Louvois to have great talents, and none can be quoted. PICARD, though not unfrequently applauded, is but a sorry actor. His cast of parts is that of valets and comic characters. DEVIGNY performs the parts of noble fathers and foolish ones, here termed dindons, and grooms, called by the French jockeis. The remark, that he who plays every thing plays nothing, has not been unaptly applied to him. He has a defect of pronunciation which shocks even the ear of a foreigner. DORSAN is naturally cold and stiff, and when he endeavours to repair the former of these defects, the weakness of his powers betrays him. If he speaks correctly, it is without finesse, and he never adds by expression to the thought of the author. CLOZEL is a very handsome young man. He performs the characters of petits-maÎtres and those of valets, which he confounds incessantly. The other actors of the ThÉÂtre Louvois exempt me from naming them. As for the actresses at this theatre, those only worthy to be mentioned are, Mademoiselle ADELINE, who has a rather pretty face, and plays not ill innocent parts; Mademoiselle BEFFROI, who is handsome, especially in male attire; and Mademoiselle MOLIÈRE, who is a very good soubrette. Mademoiselle LESCOT, tired of obtaining applause at the ThÉÂtre du Vaudeville, wished to do the same on a larger theatre. Here, she has not even the consolation of saying "Tel brille au second rang, qui s'Éclipse au premier." Madame MOLÉ, who is enormous in bulk, is a coarse caricature, whether she performs the parts of noble mothers, or what the French call caractÈres, that is, singular characters. The ci-devant ComÉdie Italienne in Paris partly owed its prosperity to the Vaudeville, which might be considered as the parent of the OpÉra-Comique. They were united, when the drame being introduced with songs, had like to have annihilated them both. The Vaudeville was sacrificed and banished. Several years elapsed before it reappeared. This offspring of French gaiety was thought to be lost for ever; but a few authors had prepared for it an asylum under the name of THÉÂTRE DU VAUDEVILLE. This little theatre is situated in the Rue de Chartres, which faces the principal entrance of the Palais du Tribunat. The interior is of a circular form, and divided into four tiers of boxes. In general, the decorations are not of the first class, but in the dresses the strictest propriety is observed. These pieces are almost always composed in conjunction. It is by no means uncommon to see in the play-bills the names of five or six authors to a piece, in which the public applaud, perhaps, no more than three verses of a song. This association of names, however, has the advantage of saving many of them from ridicule. The authors who chiefly devote themselves to the species of composition from which this theatre derives its name, are BARRÉ, RADET, and DESFONTAINES, who may be considered as its founders. BOURGEUIL, DESCHAMPS, DESPREZ, and the two SÉGURS, also contribute to the success of the Vaudeville, together with CHAZET, JOUY, LONGCHAMPS, and some others. In the exercise of their talents, these writers suffer no striking adventure, no interesting anecdote to escape their satirical humour; but aim the shafts of ridicule at every subject likely to afford amusement. It may therefore be conceived that this house is much frequented. No people on earth can be more fickle than the French in general, and the Parisians in particular, in the choice of their diversions. Like children, they are soon tired of the same toy, and novelty is for them the greatest attraction. Hence, the Vaudeville, as has been seen, presents a great variety of pieces. In general, these are by no means remarkable for the just conception of their plan. The circumstance of the moment adroitly seized, and related in some well-turned stanzas, interspersed with dialogue, is sufficient to insure the success of a new piece, especially if adapted to the abilities of the respective performers. Among them, HENRY would shine in the parts of lovers, were he less of a mannerist. JULIEN may be quoted as an excellent imitator of the beaux of the day. VERTPRÉ excels in personating a striking character. CARPENTIER is no bad representative of a simpleton. CHAPELLE displays much comic talent and warmth in the character of dotards, who talk themselves out of their reason. LAPORTE, as a speaking Harlequin, has no equal in Paris. So much for the men: I shall now speak of the women deserving of notice. Madame HENRY, in the parts of lovers, is to be preferred for her fine eyes, engaging countenance, elegant shape, and clear voice. Mesdemoiselles COLOMBE and LAPORTE, who follow her in the same line of acting, are both young, and capable of improvement. Mademoiselle DESMARES is far from being pretty; neither is she much of an actress, but she treads the stage well, and sings not amiss. Mademoiselle BLOSSEVILLE plays chambermaids and characters of parody with tolerable success. Mademoiselle DELILLE, however, who performs caricatures and characters where frequent disguises are assumed, is a still greater favourite with the public. So much has been said of the glibness of a female tongue that many of the comparisons made on the subject are become proverbial; but nothing that I ever heard in that way can be compared to the volubility of utterance of Mademoiselle DELILLE, except the clearness of her articulation. A quick and attentive ear may catch every syllable as distinctly as if she spoke with the utmost gravity and slowness. The piece in which she exhibits this talent to great advantage, and under a rapid succession of disguises, is called Frosine ou la derniÈre venue. Mademoiselle FLEURY makes an intelligent Columbine, not unworthy of LAPORTE. Madame DUCHAUME represents not ill characters of duennas, country-women, &c. Nothing can be said of the voice of the different performers of this theatre, on which acccount, perhaps, the orchestra is rather feeble; but still it might be better composed. During my present visit to Paris, the Vaudeville, as it is commonly called, has, I think, insensibly declined. It has, however, been said that its destiny seems insured by the character of the French, and that being the first theatre to bend to the caprices of the day, it can never be out of fashion. Certainly, if satire be a good foundation, it ought to be the most substantial dramatic establishment in Paris. It rests on public malignity, which is its main support. Hence, one might conclude that it will last as long as there is evil doing or evil saying, an absurdity to catch at, an author to parody, a tale of scandal to relate, a rogue to abuse, and, in short, as long as the chapter of accidents shall endure. At this rate, the Vaudeville must stand to all eternity. Whatever may be its defects, it unquestionably exemplifies the character of the nation, so faithfully pourtrayed by Beaumarchais, in the following lines of the vaudeville which concludes the Mariage de Figaro: "Si l'on opprime, il peste, il crie, |
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