Paris, February 20, 1802.Having fully described to you all the theatres here of the first and second rank, I shall confine myself to a rapid sketch of those which may be classed in the third order.[1]

THÉÂTRE MONTANSIER.

This house stands at the north-west angle of the Palais du Tribunat. It is of an oval form, and contains three tiers of boxes, exclusively of a large amphitheatre. Before the revolution, it bore the name of ThÉÂtre des Petits ComÉdiens du Comte de Beaujolais, and was famous for the novelty of the spectacle here given. Young girls and boys represented little comedies and comic operas in the following manner. Some gesticulated on the stage; while others, placed in the side-scenes, spoke or sang their parts without being seen. It was impossible to withhold one's admiration from the perfect harmony between the motions of the one and the speaking and singing of the other. In short, this double acting was executed with such precision that few strangers detected the deception.

To these actors succeeded full-grown performers, who have since continued to play interludes of almost every description. Indeed, this theatre is the receptacle of all the nonsense imaginable; nothing is too absurd or too low for its stage. Here are collected all the trivial expressions to be met with in this great city, whether made use of in the markets, gaming-houses, taverns, or dancing-rooms.

CAROLINE and BRUNET, or BRUNET and CAROLINE. They are like two planets, round which move a great number of satellites, some more imperceptible than others. If to these we add TIERCELIN, an actor of the grotesque species, little more is to be said. Were it not for BRUNET, who makes the most of his comic humour, in playing all sorts of low characters, and sometimes in a manner truly original, and Mademoiselle CAROLINE, whose clear, flexible, and sonorous voice insures the success of several little operas, the ThÉÂtre Montansier would not be able to maintain its ground, notwithstanding the advantages of its centrical situation, and the attractions of its lobby, where the impures of the environs exhibit themselves to no small advantage, and literally carry all before them.

We now come to the theatres on the Boulevard, at the head of which is to be placed

L'AMBIGU COMIQUE.

This little theatre is situated on the Boulevard du Temple, and, of all those of the third order, has most constantly enjoyed the favour of the public. Previously to the revolution, AUDINOT drew hither crowded houses by the representation of comic operas and bad drames of a gigantic nature, called here pantomimes dialoguÉes. The effects of decoration and show were carried farther at this little theatre than at any other. Ghosts, hobgoblins, and devils were, in the sequel, introduced. All Paris ran to see them, till the women were terrified, and the men disgusted.

CORSE, the present manager, has of late added considerably to the attraction of the Ambigu Comique, by not only restoring it to what it was in the most brilliant days of AUDINOT, but by collecting all the best actors and dancers of the Boulevard, and improving on the plan adopted by his predecessor. He has neglected nothing necessary for the advantageous execution of the new pieces which he has produced. The most attractive of these are Victor, le PÉlerin blanc, L'Homme À trois visages, Le Jugement de Salomon, &c.

The best performers at this theatre are CORSE, the manager, TAUTIN, and Mademoiselle LEVESQUE.

In regard to all the other minor theatres, the enumeration of which I have detailed to you in a preceding letter,[2] I shall briefly, observe that the curiosity of a stranger may be satisfied in paying each of them a single visit. Some of these petits spectacles are open one day, shut the next, and soon after reopened with performances of a different species. Therefore, to attempt a description of their attractions would probably be superfluous; and, indeed, the style of the pieces produced is varied according to the ideas of the speculators, the taste of the managers, or the abilities of the performers, who, if not "the best actors in the world," are ready to play either "tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, scene individable, or poem unlimited."

Footnote 1: The Theatre of the Porte St. Martin not having been open, when this letter was written, it is not here noticed. It may be considered as of the second rank. Its representations include almost every line of acting; but those for which the greatest expense is incurred are melo-drames and pieces connected with pantomime and parade. The house is the same in which the grand French opera was performed before the revolution.Return to text

Footnote 2: See Vol. i. Letter XXI.Return to text