But even these latter theaters are hampered by the system of stars and the desire to attract the public by the well-known name of a successful author on the bill.
Sometimes the play of the successful author, like the little girl with the curl in the middle of her forehead, is very, very good, and sometimes very, very bad, but it is always very, very expensive. On account of these stars and successful authors, the seats have to be sold at a high price. Once the expense of production of the play is covered, the play is forced to a long run, thus limiting the chance of a new one being given.
For these reasons and many others M. Antoine, a young man who was an employee of the city gas company, conceived in 1887 an idea of an entirely different theater where all old traditions would be put aside, where a play would not be given more than two weeks, thus opening the door to a great many authors, and where a company of thirty-six actors would play impartially all rôles and each one would receive for his services the same pay.
The plays given should be upon every-day life, therefore no expensive costumes or elaborate scenery would be needed.
The actors were not to come from a dramatic school, but teach themselves by experience.
Realism was to pervade everything: acting, costumes, scenery and properties.
In March, 1887, M. Antoine organized the first representation of “Jacques Damour,” which was such a success that it was taken immediately by the Odéon. The performance was given in a cheap little auditorium in Montmartre, hired at as low a figure as possible for the occasion. None of the actors were professionals. In this first representation of the “Puissance des Ténèbres,” the cast was: Men—Monsieur Antoine, still employee of the gas company, an employee of the Minister of Finances, a secretary at Police headquarters, an architect, a chemist, a drummer and a marchand de vin. Women—a dressmaker, a bookbinder, an employee at the Post-office, etc., etc. All this cast rehearsed in the evening after long hours in office and store.
In spite of keeping expenses as low as possible, Antoine was in debt after the first representation and was obliged to wait two months before he could give another performance.
Finally the company succeeded in giving seven or eight representations in a little salle of the rue Blanche, and from there went to the Théâtre Montparnasse, and thence to the Menus Plaisirs, where the Théâtre Libre exists at the present day under the name of the Théâtre Antoine.
With this little company it was not always easy sailing. Had it not been at the time for the generous help of the press and the kindness of the director of the vaudeville who sub-rented his hall to the ambitious troupe for next to nothing, it would have met with financial ruin. But the plays they gave attracted attention. Nowhere had such daring realism and freedom from old traditions been attempted.