THE THEATRES, MUSIC, AND THE FASHIONS.

Globe, Volume I, Issue 56, 4 August 1874, Page 3

THE THEATRES, MUSIC, AND THE FASHIONS.

| FROM A CORRESPONDENT.] Paris, June 2. Theatres.—" L'Amant de la Lune" has been given at the Ambigu. It is a five act drama by Paul de Kock, a name almost illustrious and still celebrated. The play is founded upon his novel of that name, published in 1847; and was discovered among his posthumous papers, which a friend has polished up and introduces with a poetical prologue, setting forth the ingratitude of the several French Governments in not decorating De Kock with the Legion of Honor. The drama in no respect recalls the spirit of observation and the gay humor of the painter of grisettes, students of twenty years' standing, and John Gilpins. It is a heavy work, full of complications, difficult to understand, and wearisome to follow. Nearly one half of the piece is acted by moonlight and gas turned down, which gives a kind of death chamber appearance to this theatre, the home or the refuge of fee-faw-fum melodramas. The spectators have a mornful look, and the actors seem to walk in list slippers and on tip-toe, fearing to awake even applause. No one counsels to include De Kock's romances as prizes suitable for young ladies' boarding schools, or even for young geutlcmens' lyceums ; they are not adapted for the drawing-room table, and every gentleman's library should be without them. During a quarter of i century or more, Paul de Kock made the fortune of libraries and reading-rooms, and was as great a personage beyond, as within France. Now it is never gratuitously that a writer acquires a cosmopolitan popularity, and becomes a kind of fashionable romancier. He must possess something that stirs the crowd, and represents a certain state of their minds. That something can well escape the educated and the refined, but it exists not the less. Paul de Kock had no system of philosophy, belonged to no school; he never made himself uneasy about shadowy theories; about the objective and the subjective, the I, and the non-I; like his friend Beranger he only adored the god of jollity. He had no literary pretensions ; he aimed to provoke the heartiest of laughter and communicative gaiety, without troubling himself a moment as to propriety of language or delicacy of situation. Horace—who often finds himself in strange company —says, if you desire to provoke tears, cry yourself. Paul de Kock's sustained laughter forces others to follow him. It is not characters he so much created, as their wrong-headedncss, their follies, their ridicules, which he painted. By a few touches of the pencil he obtained sketches as amusing as they were successful, and though bordering on caricature were perfectly recognisable. It is in these very exaggerations, resting on exact observation and study, that consist the originality of de Kock, his very nature, his element. But when he turns dramatist he causes us to decamp. He can make us shake with laughter, but never shudder from tears. Pope Gregory XVI. was one of the novelist's admirers ; he offered to confer on him the honor of Chevalier in an order most coveted by good Christians, which de Kock declined, not because he was a Protestant, but inconsequence of not beiug so honored by his own country, he could not accept decoratiou from a stranger. In his memoirs, Paul de Kock publishes a letter from Lytton Bulwer, wherein the writer states, " lam delighted to find in yon, in your writings, the moral views that I like," which is at least strange, " and I avow your morality, in that which concerns woman, would much more please here, were it less frivolously expressed. With us, we hold much to propriety of terms ; forgetfulness of this mars the appreciation of your merit, the piquancy of your style, and that practical philosophy which with you forms the bed of a comical current, stronger than to be found in any contemporary writer." There is nothing of this " comical current " in the drama ; the author stops at no dark combination ; duels, abductions, poisonings, robberies, and assassination, give him no trouble ; his bandits exchange blows and stabs, with as little ceremony as his grisettes kisses. Crops, whoso wife has left him to become the mistress of a wealthy banker, in despair lives in woods, coming forth at night-time like the owls only, by means of which he discovers and prevents many crimes, by informing the police; it is thus he prevents his worthless wife from accomplishing the assassination of Lhe banker's own scparaled wife and daughter, in order to legally take their place, The first act is the best, we there see the grisettes of other days, riding on asses at Montmorency, and Romainville, chaperoned by the student of fifteen years standing, now a fossil, in white beret, cross-bar pantaloons, pipe in mouth, and tobacco pouch suspended from the lapel of his coat ; an old acquaintance of the Latin Quarter, before Baron llaussmann attacked it with pickaxe and spade. Three live donkeys are introduced on the stage aud conduct themselves very creditably. There is a very pretty ballad sung, full of melody and plaintiveness, that will live when the drama has long been forgotten ; there is a scene where a student represents drunkenness with a faultless realism, and di'S from alcoholic congestion of the brain, with all the revolting and disgusting hospital incidents, that modern drama seems to exact.

Thkatbk-Francais. a comedy in one act and verse, by M. Denayrouso. The piece like the author is young, and some two years ago was represented at a matinee littiraire. On the present occasion it may be considered rather as an original than a revived work. It is founded on a strange but true legend. About the middle

of the sixteenth century, the beauty of Paule, baroness de Fontencille, was so renowned in Toulouse, that hundreds made a pilgrimage to see her. She dazzled oven Francois T. Every time she went out she was followed by an admiring crowd. This proved so inconvenient that she decided to remain within doors, or to appear veiled, a, resolution that provoked such discontent among the citizens tiiat the Municipal Council had (o decree that la belle Paule should show hei'Belf twice a week to the people. The Mayor, in acquainting her with this decree, said she was free to select a gentleman to escort her, the townspeople suggesting such ought not to be her husband, as lie was anything but an Adonis, and approaching Falstaff in size. Finally it was arranged that her pretty maid should accompany her, which maid was one Gaston, an admirer, who loved his idol so much as to become her eamevhte. The husband was the only one who did notknow the real character of his lady's " maid." Young authors of one act comedies rarely construct a piece ; the exigencies of thestage nevcrtrouble them, so long as their poetical fancy is allowed to enjoy its full career. The comedy, though having no roles, is well played. Mile Bernhardt, as Gaston, sighs, rather than declaims, the tender and graceful poetry, iu a style full of melody and harmony. The part of the belle Paule exacts only a success of beauty and of costume, conditions faithfully complied with. Vaudeville,—This theatre has revived Sardou's " Ganaches," a comedy in four acts. The piece was first produced in 1862 at the Gymnase, aDd had an immense success. Independent of being full of fascinating details, it had then the irresistible attraction of being spiced with political allusions, occupying more the political than the literary press. While the political side of the comedy has faded, the piece has not the less other charms to please, in relief, color, the sketches of provincial manners truthfully observed and ably depicted. Fourteen years ago Sardou took the pains to study and design his characters ; to-day he hardly sketches where he formerly painted. Three old bachelors chum together in a very retired village of Brittany : one is the Marquis dc Roehepan, who has been J aid up in ordinary since the expulsion of Charles X., and believes that forced flight has involved the ruin of France ; Frornental is a retired provision merchant, an Orlcanist, who has no doubt the world has become topsy-turvy since February, 1848 ; he is old and rheumatic, is of opinion the weather has become colder and lucifer matches more difficult to ignite ; Vaucliu is a retired navy doctor, possessing faith only in the men of the first revolution. Hence their appellation ganaches old parties or fogies. They are, however, three worthy men, who quarrel over everything save whist, and are very much devoted to each other, which detracts from the realism of the play A projected local line of railway will cut their common chateau and garden in two ; hence a growling denunciation of railways and progress in general. The Marquis having sworn never to put foot in Paris, yet arrives, sees the Minister, and obtains a deviation in the projected railway, He is converted to modern ideas at the contemplation of Baron Hausmarin's revolutions. Perhaps his rhapsody is at present misplaced when he declares Paris, France, " watches over the sleeping earth," that the French are " the kings of the world, a people that every one adores, but that all would wish to crush." Since 1870 all this nonsense has happily disappeared. Perhaps the remark of one of. the characters, " I desire no discussions; I prohibit such, and the first person that dare 3 demand liberty, I shall have arrested," is a little nearer the truth. Mile de Porbao, an old maid, is the most popular personage in the piece, she insists on speaking, and declares she ■' will speak as Balaam's ass." The niece of the Marquis—Marguerite, is in love with Marcel, an engineer and son of an old butler ; ho is dismissed to prevent his falling in love, which confirms the lady more and more that he is enamored with her. He is recalled to simulate the part of a lover, and finishes in becoming a real anodyne in the form of a husband. Mdlle. Bartet, as Marguerite, in threatening suicide and going into real hysterics, forgets that true dramatic art has no connection with pathology ' she passes too quickly from health to exhaustion, from agony to convalescence; but at present one is habituated to everything on the stage, even to resurrections. The conversions arc also too frequent in the piece ; Pascal or Leibnitz, could not attempt anything so rapid with a disciple of d'Alembc-rt or Condillac. Lafond was missed to play the Marquis aud his brilliant impertinences. Delaunoy is amusing as Frornental. Music, Opera Comique.—" Le Cerisicr"— Comic opera in one act, by M. Prevel, music by M. Uuprato. The story is founded on La Fontaine's fable of the Servants justijiie, where a husband takes some liberties With his servant maid, unaware that he had been observed by a neighbor. Marcelin is a gardener, and a gallant ; he is making professions of love to Christine, near a cherry tree, when they are overheard by the widow Fnret—who is certain to tell Mdme Marcelin all; the latter unexpectedly arrives near the Cei'isier, when the husband repeats the scene with his wife, and to her delight, that had passed between himself and Christine, so that on the widow relating what she saw, the wife exclaims, " It was I." Marcelin recommended Christine to play the same part with her lover Prosper, who is naturally surprised at the warmth of Christine's devotiou, aud when he is informed by the widow, of Christine's flirtations with Marcelin, Prosper replies, " It was I," and the forest guard arriving to announce the award of the prize of virtue—the llosiere—to Christine, a general chorus is sang, that the widow Furet is mad, which goes far to make her so. The music is light and rather monotonous, the trombones lvcalliug a symphony from Haydn. Mous. de Sevigue said of baskets of cherries, "one selects at first the most beautiful, and finishes by eating all." The same cannot be said of the score of the " Ccrr-ier," which is, however, not ambitious, expresses what is desired, possesses melody and scenic sentiment. The duo between Marcelin and Christine, the chorus laughing down the widow, are both pleasing, and the final march amusing. The music was composed by Duprato, when nailed to his bed by rheumatism. Boui'EES. —This theatre has brought out " Bagatelle. ' an operetta in one act, by Messrs Cremieuxaud Blum ; music by Offenbach. Operettas have this much iu their favor —they amuse. That in question has been a success for all parlies. The plot rests on a needle's point: Bagatelle (Mine Judic) is a singer iu a cafe concert, who has been severely hissed, when the young Planterville takes her part alone, like the last of the

Horatii, but against four instead of three. He scales her balcony to receive his reward, which inconveniences a clarionet player, who was pushed out on the stairs, and directed to decamp ; but, instead, wanders about the whole night, from one room to another—a most comical scene. Thepartition is a series of pearls. The music is sparkling, exquisitely chiselled, elegant, and witty. The verses sang by the clarionetist, George, accompanyinghimself on the instrument, are the very height of drollery ; as is also the trio of sleepers with their melody of snores; The Mathurin ballad is the bijou of the piece. To praise Offenbach would be only painting the lily.

Theatre-It alien.—Mile Belocca, before her departure for London, sung in the tombact of " Romeo et Juliette," by Vacca'i. She confirmed the favorable impression at the close of our Italian season that she produced at its commencement in the role of Rosine. As Romeo, she displayed true dramatic sentiment. Chance drove her to Italian music, but many judges consider the French school is more suited for her.

Fashions.—Although fashion has never been less absolute than this year, ladies have never shown less of individual initiation. ¥ov example, when the Indian summer of April was succeeded by the inclemency of the present month, spring costumes were patronised till coughs and sore throats compelled attention, and now the opposite extreme is indulged in of cloth costumes trimmed with fur, and straw hats ornamented with poppies and wild oats! The month of May is not of late years as mild as formerly, and it is better to conform to the change. Even at the present, the most prudent toilettes are neither too warm nor too cool—a true demi-season arrangement. As the hat is a difficulty under these circumstances, ladies ought not to forget that a lace bonnet, with or without pearls, is suited to all seasons; a black lace hat demands only a tuft of feathers, or a flower artistically placed, to suit the toilette. In full summer hats will have sufficient time to be worn, and to fade quickly, that is the sole bad drawback to garlands of flowers, which will have a great success this season, demanding, of course, to be constantly renewed. Generally, for full figures, long polonaises, well - fitting and harmoniously draped, as well as the cuirasse with long basques, are most suitable; while corsages demi-adjusted, fitting to the figure by a sash, and floating blouses,' are best for slender figures, for whom a'.so the scarf knotting behind is adapted. Fringe, whether pearled or not, imparts to cashmere a harmonious appearance. Embroidery aud steel-blue pearls are commencing to make serious opposition to jet, so that by winter jet will be relegated exclusively to mourning.. These new pearls look more charming oh a pale or dark shade of blue than upon black Bilk. The incroyable vest is still the highest novelty, and is worn with gilets in white pique, as it is rather eccentric only very elegant ladies can wear it; more reasonable people will prefer a more moderate pattern. Sleeves vary very much; for neglige costumes they are bouiUonne above and plain below; for full dress, the Louis XV, Medicis, and revers Louis XIV are most in favor. Revers enjoy general patronage this season. Very charming costumes are to be met with in mohair, silk being the ornamentation employed. Light vapory materials exact a silk jupon. The cuirasse not only imparts elegance to the figure, but enables robes still fresh to be utilised, of which the corsages are used; and cuirasses suit better when the sleeves are different. The cuirasse is made in all colors; nothing more graceful than one of such upon a training jupe of white muslin or Chambery gauze. It is understood that only natural flowers form the coiffure for soirees during summer. Costumes in faille or cashmere, sea or pale blue, with the steelish-blue pearls and the little pelerine, are making a sensation.