Théâtre Français

     “Important Notice: The management, envious at the success of Maestro Verdi’s latest opera, has [paid big money…] the latest work (which is also the first one) by the famous Maestro Veau Rôti, a work which, having the same title [as that of Verdi’s], deals with a totally different subject.”

     “Opera, Seria, Burlesqua, Dramatica, Lyrica, et-ceter-a. Musica del Maestro, Veau Roti, with a splendid cast. The music of this opera has been bought at the price of gold and paid greenbacks.”

     “The friends of the French drama in general, and of M. Gravier in particular, crowded Niblo’s Saloon last evening to give that gentleman a hearty welcome on the occasion of his return to this Theatre. The company, although composed of artists of known ability, has nevertheless felt the want of this gentleman’s quick and ready acting.

     A burlesque of ‘La Forza del Destino’ was admirably performed, amid the heartiest plaudits of a delighted audience. In this burlesque the opera is reduced to one act, and is continually interrupted by M. Juignet, (who sits in the gallery personating one of the audience), in tones loud enough to be heard in every part of the house. He makes comments upon the actors and their singing, causing thereby infinite amusement.”

     “Niblo’s Saloon, on Tuesday and Saturday evenings, seems more like a familiar rendezvous for social merry-making than a place devoted to the business of public entertainment. The audience is a friendly gathering, and the managers are the hosts. The door-keeper is no grim and watchful sentinel, with an eye specially ‘peeled’ for the detection of dishonesty, but a pleasant attendant, whose main function is to welcome the coming guests—the examination or collection of tickets being merely an incident to the occasion. Regular visitors are received with pleasant informality, and all are greeted with courtesy. During the entr’actes, the spectators receive themselves into cozy groups, and discuss with candor, but also with generosity, the merits of the performance. And at the close, as they disperse, Mr. Juignet, the director, stands at the door wishing a good night to all his patrons, who are also his friends. All of which is extremely novel, refreshing and delightful.

     But not more novel, refreshing and delightful than the character of his entertainments. The artistic principles of the French theater, which have in all seasons been aptly illuminated at Niblo’s Saloon, are this year more completely at the manager’s control than ever before. The company is really superior, taken altogether, to any that has preceded it. And as if to show his appreciation of the increased encouragement afforded him, Mr. Juignet has just now further added to his resources by engaging Mr. Gravier, a popular artist of former seasons, and Madame Gravier, hitherto agreeably known as Mlle. Malliet. The gentleman made his appearance on Tuesday evening, in Scribe’s comedy, ‘Mon Etoile,’ and was received in the heartiest manner imaginable. He acted with great spirit, ease, and delicacy; and, we are happy to say, with fewer indications than usual of his anxiety to address himself to the audience, rather than to his associated in the business of the scene. Mr. Gravier will always maintain a barrier between himself and the first rank among comedians, unless he abjures this singular error. In a French actor, it is worse than a blunder;--it is precisely what Tallyrand would tell you.

     The little comedy of ‘Une Tasse de Thé’ was also vivaciously represented . . .by Madame Larmet and Mr. Jourdan. But the capital effect of the evening, to judge from the mirth-provoking results, was the burlesque Italian Opera, by Mlle. Delange, and Messrs. Edgard, Chol, etc. It was the supreme effort of burlesque illustration. Not an actor appeared possessed of any idea apart from stern, immovable, unrelenting tragedy. Not a feature, among the whole group, stirred jocosely. But though double-plated with gravity, the actions, tones, gestures, and words were so inexpressibly ludicrous in their mimicry of operatic usages as to convulse the audience from beginning to end. An amusing feature in the burlesque was the appearance of Mr. Larmet among the audience, as a critical spectator, whose audible interpretations of the plot and the situations added vastly to the humorous effect.

     During the evening Mr. Chol announced that an extra performance would take place this (Thursday) evening, for his benefit. Mr. Chol has a double claim upon the habitués of the French Theater—in his recognized quality of a conscientious and excellent artist, and also in his less public, though not less important capacity of stage manager.”