Article on the success, past, and future of opera at the French Theatre

“The success of the French theatre during the last two seasons has been of the most marked and unequivocal character. The most gloomy anticipations were indulged in by some at the commencement of its career, but the results, as they can be seen at the present time, must compel the most inveterate of those cynics to alter their opinions. The causes of the wonderful success of this establishment are few, but sufficient for any one possessing a knowledge of the manner in which a theatre should be conducted. There are stockholders connected with it, it is true, but their course has been different from that of its larger rival on the same street. They do not seek to monopolize the best seats in the house without paying for them, neither do they strut on the stage behind the scenes, dictating to the manager what he should do. On the contrary, the stockholders of the French theatre endeavor to assist and encourage their manager in the most substantial and efficient manner. A suggestion has been made by the trustee in his last report that the subscribers’ rights shall be confined to engaging their seats in advance, at their own option, for each season, by notice given beforehand that they will take them, or in default of which they waive their prior rights. The manager for the past season has faithfully fulfilled the condition of his lease by giving the subscribers forty-five nights of French drama. With regard to the immense popularity acquired by the French theatre, it is easily accounted for by the uniformly superior character of the entertainments given there. The enterprise, energy and artistic appreciation of the wants of the amusement public of this city shown by Mr. Bateman in bringing on the stage an opéra bouffe company of unrivalled excellence, have been emphatically endorsed by the liberal support of the public. The success of the ‘Grand Duchess’ is now an undisputed fact; and ‘La Belle Hélène.’ With the merry, sparkling inimitable Tostée, bids fair to be even a greater favorite. Then the brilliant season inaugurated by the great tragedienne, Ristori, under Mr. Grau’s direction, in the fall of 1866, was an epoch of more than ordinary interest in theatrical annals. ‘Medea,’ ‘Elizabeth,’ ‘Mary Stuart’ and ‘Marie Antoinette’ presented an ensemble of art, with all it saccessories that woke up many of the Rip Van Winkles of other theatres to the knowledge that they were twenty years behind-hand in the amusement line. Thus all the ominous predictions of theatrical fogies have received a deserved rebuke in the triumphant career of this beautiful little temple of drama and opera. One hundred and ninety-nine and a half mourners sit on the steps of the Catacombs and wonder at this state of things, while their establishment is deserted. The answer, as we have shown is a simple one. Common sense might have suggested it to these afflicted people before. Now the French theatre has taken a hold of the affections of the people that cannot be displaced.”