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• 1 media/Thumb 158.png 2024-12-03T13:34:43-05:00 "The Theatre" 13 What's on in the Paris theatre scene – A semi-successful revival at the Comédie-Française – Sarah Bernhart: a method actress with snakes – a few more premieres plain 2024-12-10T10:20:49-05:00 09-24-1890

  At the Comédie Française

  Reprise of Le Duc Job, comedy in four acts in prose, by Léon Laya.
  
  This play that, we are told, previously had (around 1859) a long popularity and counted as many as three hundred showings, now seems a bit outdated and old-fashioned. Some scenes in the second act still grab the spectator by the intensity of their situations, but more often the characters  break into tiring monologues.
  
  Jean, the Duke of Rieux, is nicknamed Duke Job because of his poverty. The Duke, according to the author, is "not much to look at"; he joins the Army in Africa, a young man's fantasy, to see Kabylia, "at the State's expense." Frank, loyal and generous, he cannot marry his cousin Emma, whom he adores, because Emma will not make do with an income of six thousand livres. And, although sometimes dreaming of her cousin, she is firmly resolved only to accept a man who can give he cars, horses, and all the luxuries proper for a great lady. A miracle occurs: Duke Job inherits four million. He marries the one he loves.
  
  Reduced to this brief analysis, the data of Le Duke Job are absolutely those of Roman d'un jeune homme pauvre, published in 1857 by Octave Feuillet. But between the two plays there is a capital difference; Octave Feuillet surrounded his poor young man with a poetic and romantic setting, lending him the full charm of his delicate style. Léon Laya, conversely, preferred to keep his Job in the down-to-earth of an incredible vulgarity. The Duke is clearly a brave young man; but to judge him by his language—although he has taken classes—one would think he grew up in a caretaker's lodge. His conversation is peppered with trivial expressions, whose rudeness often competes with the incorrect usage of terms. His uncle the Marquis, his cousin Emma, his Aunt Madame David speak, furthermore, in the same idiom.
  
  However, as was said earlier, Le Duc Job a few qualities of interest and of sentiment, which are essentially concentrated in the two characters of Duke Jean and his cousin Emma, finally pulled away from the material preoccupations by the power of sentiment that began vaguely glimpsed but that grew from act to act. This delicious role of a young girl sustains the play from one end to the other.
  
  For that matter, the play, originally, was only launched because of a superior rendition. The posters of the era had, in effect, united the names of Provost, Got, Monrose, Worms, Barré and Talbot, and of Mrs. Nathalie and Mrs. Emily Dubois. This is still the rendition that was paid homage, the other night, at the Français.
  
  Got, originator of the role of Jean, has taken up the role of the Maquis, created by Provost, from whom he borrowed a mocking bonhomie devoid of aristocratic pretensions. Mr. de Féraudy—Got's student—by force of verve and spirit, made the most of the Duke character, who is very difficult to reproduce.
  
  As for the role of Emma, it was the opportunity for a great triumph for Miss Reichemberg, charming in grace and sparkling in cunning. Those who heard the incomparable ingenue eighteen years ago could only point to one difference: the substitution of a red dress for the white one of old.
  
  The secondary characters are sustained by the talent of Messrs. Boucher, Garraud, Joliet, Roger, Samary, and by Mrs. Céline Montanans, excellent as Madame David.

  At the Porte Saint-Martin

  Mr. Victorien Sardou has begun directing rehearsals of Cléopatre, his new play.
  
  It is known that in this drama—as in the legend—Cleopatra (Sarah Bernhardt) must die in a scene after being bitten by an asp. It seems that, with this scene in mind, the great artist spent six months familiarizing herself with snakes. There is, in the forest of Fontainebleau, a variety of snake that resembles an asp, but that is not dangerous. Sarah Bernhardt now always has one of these snakes at her house, which she sometimes wears around her wrist like a bracelet.
  
  This winter, the Asp of Sarah Bernhardt will be in fashion. We expect to see it in all forms: chains, bracelets, charms, collars and umbrella handles. Because, as Mr. Prud'homme noted, the serpent has always tempted the daughters of Eve.

  Odéon

  The first performance (reprise) of La Maitresse légitime, comedy in four acts by Louis Davyl, will take place today.

  Opéra-Comique

  Mantinées will recommence in this theatre next Sunday the 28th.

  Cluny

  Premiere of Madame Othello. The abundance of material forces us to put off the complete summary of this play until next week.

  At the Gymnase

  Final showings of Paris fin de siècle.
  
  Thursday, 2 October, first showing of L'Art de tromper les femmes, comedy in three acts by Messrs. Paul Ferrier and Emile de Najac.
  
  It is with this play that the Gymnase will start its matinées.