Bateman French Opera: H. L. Bateman Benefit

Terms that would be demanded of Bateman for lease of the French Theatre.

“Regarding the performance we must say that Mlle. Tostée never appeared to greater advantage, malgre her voice, in the first act of the ‘Duchesse,’ and Longchamps made a feature of Wanda.  The benefit was a fitting finale to the unprecedentedly successful season which Mr. Bateman has just brought to a close, and we hope that his new quarters will prove as profitable and successful to him as the beautiful little Théâtre Francais, where he has so long wielded the managerial baton.”

(brief preview)

“. . . In the evening the performances were for the benefit of the director, Mr. BATEMAN. This circumstance, added to the fact that it was the last appearance of the company, caused the house to be filled to its greatest capacity. The programme, indeed, was sufficient to insure this agreeable result. [list of works performed]. . . Mr. BATEMAN gave an excellent idea of the old soldier, but he was very feebly supported. The patience of the audience was somewhat tested. After the vivacity and dash of the French artists it was certainly chilling to be dropped into an assembly where nothing but dullness prevailed—excepting always the leading character. After the performance, Mr. BATEMAN was called before the curtain, and of course addressed the audience in the usual manner. His remarks were felicitous and brought down repeated rounds of applause. The most important point was the statement that he had completed arrangements with a Broadway theatre for the continuance of French Opera Bouffe, after the return of the company from the country. This will, we believe, be in July.

The experiment essayed by Mr. BATEMAN has resulted in a success which it is impossible to ignore. On the contrary, every one is ready to recognize it, and anxious that its results may be permanent. Opera Bouffe, viewed in the proper light, interferes with no other entertainment. It does not compete with Italian Opera, or even with French Comic Opera. It is a diversion to which the spectator is required to bring nothing save a capacity to laugh. The singers are actors, although the actors are not always singers. A mild combination of voice and spirit, of the ability to sing and the capacity to otherwise amuse, are the essential characteristics of all who play in Opera Bouffe. Mr. BATEMAN has been singularly fortunate in his company, and hence his success. He has but touched the repertoire of OFFENBACH, and yet he has grasped the public with a firm and steady hand. The composer is always producing, and we are glad to know that Mr. BATEMAN, his American representative, will always be reproducing.”

“M. Bateman should be satisfied. The performance at his benefit, Saturday evening, surpassed in splendor everything of this genre the Academy of Music has ever seen. The hall wasn’t full, it was overflowing. A thousand spectators were not able to find seats and remained standing. Without even talking about the tribute awarded to M. Bateman, the performance was of a nature to justify this multitude. The first two acts of La Grande-Duchesse were executed with as much inspiration as on the first day. All the entrances were saluted with unanimous and spontaneous applause; our artists could see by that the point to which they have become popular in New York.

M. Bateman, in Le Vieux Grognard, was greeted by hurrahs. M. Boucicault’s piece isn’t worth the devil; it has neither head nor tail; it’s juvenile. One could say it’s an old vaudeville from 1820, further destroyed by the adaptation. It’s not the fault of M. Bateman, who displayed outstanding qualities as a comedian: he’s gifted above all with sarcasm and energy. Called back with enthusiasm after the piece, M. Bateman delivered a very well-turned speech. He thanked the audience and recounted how the idea of endowing the United States with Offenbach’s opera-bouffe had come to him. He announced that he had been assured, for the next season, of a theater on Broadway and the cooperation of the principal artists who have contributed to this year’s success. The address concluded amidst thunderous applause.

The second act of La Belle-Hélène gaily ended the spectacle. Mlle Tostée carried off her usual triumph there. She figures foremost among the artists that M. Bateman has reengaged: the director had to divert the river of gold [la Pactole] for the use of the glorious singer. We’ll also see M. Duchesne next year: he’s been one of the pillars of opera-bouffe, and he’s doubly popular under the guise of Boum and Agamamnon. He keeps the measure in the doggerel-verses and doesn’t abuse the tempo; we’ve never seen him exceed the limit when it’s not forcibly hurried along. We must congratulate M. Bateman on having kept this excellent pensionnaire. This evening, the company plays in Washington. There, it will distract the souls from the lugubrious and above all humorless farce of the impeachment [of Pres. Andrew Johnson].”