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.]
[Footnote 2: See Vol. i. Letter XXI.]