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.
The pieces performed at the _Vaudeville_ are little comedies of the
sentimental cast, a very extensive collection of portraits of French
authors and of a few foreigners,[2] some pastoral pieces, parodies
closely bordering on the last new piece represented at one of the
principal theatres, charming _harlequinades_, together with a few
pieces, in some of which parade and show are introduced; in others,
scenes of low life and vulgarity; but the latter species is now
almost abandoned.
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,
Il s'agite en cent façons,
Tout finit par des chansons." bis._
[Footnote 1: The _Théâtre Louvois_ is rapidly on the decline.]
[Footnote 2: These are pieces the hero of which is a celebrated
personage, such as RABELAIS, SCARRON, VOLTAIRE, ROUSSEAU,
MALESHERBES, FREDERIC, king of Prussia, &c. &c.]