THEATRES, MUSIC, AND THE FASHIONS.

Globe, Volume I, Issue 34, 9 July 1874, Page 3

THEATRES, MUSIC, AND THE FASHIONS.

[From a correspondent of “ The Press''~\ Paris, May 5.

Theatres, —“ Colin-Tampon ” is a threeact fantasy, of most extravagant humor, represented at the Chateau d’ Eau Theatre—the natural home for broad grins, outrageous puns, and laughable impossibilities. The authors are Messrs Blondeau and Monreal. “ Colin-Tambour” was formerly the terra applied to something like a battery of Swiss drums, many believing the popular phrase represented an individual. In the present case Colin-Tampon is a young man who has adopted the profession of acrobat, the better to love Aloe-Flower, who executes marvellous jigs on an Indian cord, is the betrothed of the savage You-You, King of the Blue Mountains. On the day of her marriage with his rival, You-You, as intriguing as he is savage, arrives, and persuades the whole bridal party to fly with him to his mountains, Colin is, however, introduced as pilot on board You-You’s yacht, but his ideas of plain sailing are so whimsically carried out, as to lead to his discovery. He is put into a hogshead and cast into the sea, where he would nave infallibly perished, had he not at the same moment encountered a seal, who welcomes him with the cry of “ papa,” and dolphin-like swims with Ariel to land. The seal belonged to the “ performing ” class, and that Colin in their joint exhibitions had occasionally honored with a sea-biscuit. Thus Colin has been able to reach the Blue Mountains not only in time to marry his true-love, but to depose You-You and found a new dynasty, with, of course, a speaking seal for its escutcheon. Among the droll scenes arc savages from every part of the world ; there are alligators also, and an elephant that in dicates with its trunk the most loving person in society. The ocean and the storm-tossed vessels are wonderful contrivances, and the meeting of Colin and the seal between two waves, rushing into each others “arras” is the perfection of extravagance. One of the bridal party discovering the office of “ idol” vacant, accepts the position, but finding the remuneration, adoration, and incense not sufficiently substantial, descends from his pedestal from time to time to prig the eatables of such fidilcs who commence banqueting after worshipping him. Finally he resigns in disgust in favor of a black elephant. Cluny—“ Le Cousin Pons,” drama in five acts by M. dc Launay. This piece is said to have been written twelve years ago, and to have been declined by all the theatres. The welcome accorded to it by the public shows how managers can have mistaken judgments. The plot is founded on the most popular of Balzac’s novels of the same name, and the work is but the dramatised version of the romance. It is swell known that Balzac had no dramatic talent, that is to say, the art of making his characters speak and move according to scenic conditions. With him the author ever spoke, and not the hero, Of all novelists the most d fiicult to put on the stage is Balzac. Every attempt hitherto has failed, because his personages are not dramatic characters created by a single touch, but the productions of study, analysis, and research, possessing an origin and roots, composed of a multitude of petty facts and links minutely detailed. Neither dramas nor comedies can be drawn from this most powerful describe!’ of humanity in its every phase ; his heroes and heroines are chained, and no disfiguration can make them live. No person founds a romance on a comedy or a drama, and the “ industrial” art of dramatising novels is far inferior to attempting something original of one’s own. “ My glass is not large, but I drink out of my own,’, sang Alfred dc Mussctt. Despite these drawbacks, M. de Launay has executed his difficult task with taste, respect for the great master, and a relative fidelity. The plot is a struggle to possess, then to enjoy, the heritage of poor Pons, where crime lias done its work, and the rightful heir, after sufferings, receives his rights. The dying agony of Pons is assuaged by his witnessing the union of Georges and Olga ; the woman CM hat, who aided in robbing Pons, is still sufficiently loathsome, and the wretch Remuiiency. the poisoner, is by a providental mistake poisoned in turn. The interpretation of the piece was excellent. Charley, as

Cousin Pons, had to sustain nearly t 'u; whole play. He was very much applauded iu the dying scene. It is supposed that these annul.ohms of death—whether natural or vi.ffi- —ar; not so difficult to depict, since all iciur* succeed in them. After Cousin Pons, the horrible Cibat is the next principal personage.

Tour <P Auvergne—At this theatre- ‘ Uu service cut-re amis,” by Pc h'rm.inn, a y mug author, has been produced. It is a bluettn iu two acts and in verso. It is interpreted by pupil-artistes, whose professor rents tins theatre during the daytime, and so habituates his class or school to a public audience, that proves to Vie ever full of the milk of human kindness for the rising stars, whose fault is ever a want of animation : they are never deficient in willingness or gaiety. The service between friends consists in paying marked attentions to the wife or the mistress of a friend, to demonstrate that they love themselves more than they believe they do. The idea is developed with prudence, correctness, and style, with not a little wit and droll situations.

Varieties A singular proof of public taste is to be witnessed at this theatre, respecting two trifles—intermediary spectacles —as their class is designated. One is called the Sal, and the other bagatelle the “ Chapeaux.” The first is half spoken and half sung, still an old fashion, and in favor among private parties, and has for subject the well-used pleasantries of Paul do Kock, humorously ridiculing the shopkeeper who has become rich, who assumes grand airs, and overflows with idiotic conversation at the balls he gives or is invited to. The piece is full of fine observation notwithstanding, and was well received. The “ Chapeaux ”by Vibcrt. whose productions are as popular iu the studios as iu the drawing rooms, i-i a conference on hats ; he takes a hat, moulds it into various forms, suited to different heads, at each change making witty, brilliant, and piquant observations ; some philosophical and moral reflections on the head as adapted to the hat, all possessing the air of being as improvised, as they arc droll and fantastical. The public enjoyed the “ Bal,” and hardly noticed the “ Chapeaux,” except when the actor put a freshly “ kneaded" form on his head. It is not to bo concluded that nonsense triumphs over wit, but rather that at the theatre, all the wit iu the world suffices not to float a piece, where scenic effect is absent. Voltaire has never been able to write a gay comedy, and he would have given much to have succeeded iu doing so. Vibert lacks, however, theatrical instinct and a sense of scenic effect, painter though he be. He writes pieces, perhaps, as Ingres played the violin. But it is not a little to resemble Ingres.

M. Ballandc has closed for the season his Matinees litteraires, whose object was education by the theatre, by conferences on the writings of the chief dramatists, followed by representations of their works. The idea has been a success Butheairaed farther ; he undertook to bring out new pieces by youngauthors, their manuscripts having been previously read by a committee of selection. Some successful plays were thus brought before the public. M. Ballandc, however, asserts that no important drama has been contributed this season, while the pieces in one act received by him might be counted by the hundred. The rising dramatic authors are very few ; after Sardou, Dumas, &c, what will the world do if France fails to produce their successors 1 Music (Opera Comique). —Those who love the ditties of their grandsires, with words of amiable simplicity, will relish “ Jocoudo” music by Nicolo. It is gracious, and hence why the Opera Comique likes old friends best, because it evidently considers it to be a pious duty to occasionally resuscitate its dead scores. There is the story of an Arab herdsman who rose to be Vizier, and who preserved in a cedar box his sandals and his pipe, which lie employed in his youth to remind him that before governing men, he had guarded Hocks. With a similar modesty “ Joconde” is produced, and which one listens to with the same pleasure as to an old piano which has enjoyed the sleep of the just for half a century. The airs of childhood must not be abused ; they commence by making us dream, aud ending by‘putting us asleep. Of all the arts, music is the least durable. Outside genius, all else fades rapidly. The talent that immortalises a poet, is hardly sufficient to preserve celebrity for a com [toscr during his lifetime. What change in tastes and ears between one generation and another ! What enamoured our fathers proves to be enuui itself for us, for the language of sounds renews itself with fantastic rapidity, varying incessantly its rhythms, its modulations, its formulas. From time to time perhaps—the less frequently the better—the least faded of scores may bo produced, similarly as grand men fallen into second childhood are shown on stated occasions. The gallantry of the libretto of “Joconde,” is as faded as the music, commanding, however, the respect due to age ; the simpering sentiment is relieved occasionally by an easy aud gracious melody, with a few thin but agreeable ducts.

“ Gillc ct Gillotin” is a one-act operacomique, the libretto by M. Sauvage, music by Ambroisc Thomas. There arc some curious incidents connected with this opera. First, it has been ordered by law to bo performed, M. Thomas thus finding himself in the position of a musician despite himself. Years have elapsed since he wrote the score, which he considered too trivial for the present times, and unworthy of his fame as author of li Hamlet” and “ Mignou.’ But M. Sauvage held him to his bond. The public in truth couhl not comprehend these calamities of authors that occupied the courts for the last twelve mouths. It is rare to meet with a father who loves not his offspring ; but we encounter parents who sequester a sickly or deformed child, reserving all their affection fur its more robust brothers and sisters. It is thus with M. Thomas, his “ Hamlet” and “Miguun ” have absorbed all his affection, have been making the tour of the world, while “Gille et Gillotin,” has remained in the paternal prison till the lawput an end to this cruel partiality. Why has M. Thomas shown such a Pharoah-heart towards the charming infant “Gille et Gillotin, for such it really has proved to be, though wanting in the imposing beauty of its brother “Hamlet,” and the touching physiognomy of its sister “ Miguon ? ” It is so pretty, so gay, so lively 1 “Gille et Gillotin ” are father and son in the service of M. Roqueutin, a tenible man, whose only pleasure is to resemble a blast-furnace, in being ever in a white heat. His irritability is such, that since fifteen years Gille fears to deliver him a letter, proving that/a sergeant, one Brisacie.r, is his son. Roqueutin is at once c.htuiged from a chronic tempest, to sunshine, especially as Brisacier is married to his niece privately. “ My sou becomes my nephew,

my niece my daughter-in-law,” exclaims Ifoquentin, who in fullness of heart pardons 'Pilot,in for eating his pies, and marries him i i .nf off to the maid of all work, Jacquctle. foe story is thus light, gay, and humorous, in specting the music, it is tin- general opinion it deserves to be ranked among the mo t happy productions of Thomas. It is spark ling, elegant, distinguished, and melodious. The overture is a little gem. where the subject is developed by infinite gradations, revealing the hand of the master; the variations by the several instruments are delicious. The opening duet is not happy; Gillotiu’s pic song is a success, as also the ballad rendered by Gille, “ Ought one to laugh or to cry?” The pearl, however, is the song by Brisacier, where the subject of tbc overture charmingly comes in, with its quintette refrain, where the voices die into murmurs, after which the orchestra softly drops into whispered sounds, and subsequently voices and instruments mount again, to finish with a fortissimo of grand effect.

Folies Dramatiques This fortunate, theatre has, after more than a year’s subsisting on the success of “ Mme. Angot,” brought out‘‘La Belle Bourbounaise/’an operacomique in three acts, music by 51. Goidcs. The plot turns upon an intrigue to substitute a beautiful peasant girl from Bourbonnais for Mme. Du Barry in the affections of Louis XV. The music is gay, without over ceasing to be in good taste ; it is graceful, but perhaps a little too severe and pathetic for this lively theatre. Several raorceaux are very pretty, and many of them, as Sheridan would say, will be certain to “ grind.” Fashions. —As a principle, girls ought to bo dressed with the greatest simplicity, that which constitutes (heir charm ; trimmings above all should be avoided as much as possible, and elegance sought for in the cut of the robe and the confection. Woollens and silks of a greyish color, and black and white striped stuffs, arc most suitable materials ; jupe plain, and long without being training, over which a short tunic, draped scarf-form, as high before as behind, and uniting under black ribbon coqvrs as sash : demi-cuirasse of blaek faille, closing from top to bottom by steel buttons, sleeves of greyish taffeta, recers in black faille, and similar buttons. Flat to bo iu harmony with toilette. A mantle in bine linen,J with a bouquet of flowers at side looks very becoming. This material ornamented with English embroidery will be very much worn this summer. So much for the very young ladies. Hardly two toilettes are to be met with resembling one another. Black materials are almost only lace and pearls, and jet is consequently in great favor. Some modistes suppress the tunic, others retain it while moderating it ; when worn in the street, it is very long in front, draped in tdblier, and drawn behind, being held by ribbon knots or a scarf negligently tied. It is the form, and not the trimming, at present which distinguishes the jupes, there is nothing voluminous, the consequence of the fashionable cnirasse : a single jupon, very little starched, with one or two small embroidered flounces below, is all, the object being to have the toilette as flat as possible before and at the sides. Gorsagcs are this spring composed of two different tissues and two distinct shades, and bouquets are worn in them as’ if the toilette was for a ball. It is a very pretty innovation ; natural flowers are adopted when in season. High corsages are all ornamented with plaited or piped collerettes , or the plain upright collar, style Marie Stuart. There is a tendency, however, to patronise the folding collar. In the way of coif tiros, ringlets falling to the waist are in favor, the consequence of the diadem form of hats, which are. but immense pots of flowers, only tolerable when used for carriages ; in a cab or on foot, this form of hat would be simply ridiculous, and might lead ladies to be considered’as more than loud. Town are much more elegant than the round hats, strange to say ; the latter, necessary for travelling and the country, are raised in form, with turned up border at oue side, where, from a bow of ribbon, a tuft of feathers or a wing issues. Natural grey feathers are in favor this spring, and harmonise with ecru and itc'ujc materials. The town hat is surcharged with flowers, but care must be taken not to outherod Herod, Ail kinds of thin and striped materials are to be met with, and robes arc worn raster re —never short, never training.