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Black Republic of Letters

Note - Sarah Bernhardt

Sarah Bernhardt (1844-1923) was one of the most prolific and celebrated French stage (and later film) actresses of the late nineteenth and early twentieth centuries. Learn more about Sarah Bernhardt.

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"The Theatre"
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are told, previously had (around 1859) a long popularity and counted as many as three hundred showings, now seems a bit outdated and old-fashioned.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.
Theatrical Bill
At the Français
The debuts of Miss Morena, 1st prize in tragedy and comedy in the last contests of the Conservatory, took place Friday evening, the 26th, in Ruy Blas.

For a long time the character of the queen passed for a sacrificed role, because Mrs. Atala Beauchêne, who originated the role in 1838, played it cold and indifferent. But in the 1872 reprise at the Odeon, Sarah Bernhardt proved that we had been mistaken; she put in so much charm and passion that she brought the role up to the highest ranks of drama.

A sort of tradition was created, conserved and implanted at the Comédie-Française by Miss Bartlet and Miss Broisart who filled the role after Sarah Bernhardt.

The comparisons were inevitable for the debuts of the young and lovely artist, and from the first scene the difference was noticeable.

Miss Morena, who is barely nineteen, and who has a more cheerful and gay nature, was not ripe for this role, which must colour sombre hues of sadness and the passionate surges of love. Her debut was strongly encouraged, but more inclined to smile than to tears and outpourings of the heart, she was of a relative weakness in the great love scene with Roy Blas in the 3rd act. The means and the temperament of Miss Morena will find a better home in comedy, which the artist will approach in her second debut.

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At the Odéon
The management has set a date, Monday 6 October, for the first performance of Fleurs d'Avril, one act in verse by Mr. Jules Treffier, and of the reprise of the Philosophe sans le savoir, for the debut of Miss Rose Syma, 2nd prize this years at the Conservatory.

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At the Folies-Dramatiques
Gillette de Narbonne, will take over, tomorrow, for Le Pompier de Justine. Mrs. Zelo Duran will play the role of Gillette, created with so much radiance by Mrs. Grizier-Montbazon.

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At the Bouffes
L'Enfant Prodigue, which has surpassed 100 performances, is still seeing great success.

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At l'Ambigu
Resounding success for the première of l'Oyre, a new drama in five acts and eight tableaux, by Mr. Jules and Mr. Marthold.

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At the Eldorado
A full house by 8:30. All the stars in vogue: Dufresny, Daubreil, Sulbac, Méaly, Vanuel, Halda, Plébins, etc. are there to triumph each night.

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