The ci-devant Comédie Italienne in Paris partly owed its prosperity to the Vaudeville, which might be considered as the parent of the Opéra-Comique. They were united, when the drame being introduced with songs, had like to have annihilated them both. The Vaudeville was sacrificed and banished. Several years elapsed before it reappeared. This offspring of French gaiety was thought to be lost for ever; but a few authors had prepared for it an asylum under the name of
THÉÂTRE DU VAUDEVILLE.
This little theatre is situated in the Rue de Chartres, which faces the principal entrance of the Palais du Tribunat. The interior is of a circular form, and divided into four tiers of boxes. In general, the decorations are not of the first class, but in the dresses the strictest propriety is observed.
The pieces performed at the Vaudeville are little comedies of the sentimental cast, a very extensive collection of portraits of French authors and of a few foreigners,[[2]] some pastoral pieces, parodies closely bordering on the last new piece represented at one of the principal theatres, charming harlequinades, together with a few pieces, in some of which parade and show are introduced; in others, scenes of low life and vulgarity; but the latter species is now almost abandoned.
These pieces are almost always composed in conjunction. It is by no means uncommon to see in the play-bills the names of five or six authors to a piece, in which the public applaud, perhaps, no more than three verses of a song. This association of names, however, has the advantage of saving many of them from ridicule.
The authors who chiefly devote themselves to the species of composition from which this theatre derives its name, are BARRÉ, RADET, and DESFONTAINES, who may be considered as its founders. BOURGEUIL, DESCHAMPS, DESPREZ, and the two SÉGURS, also contribute to the success of the Vaudeville, together with CHAZET, JOUY, LONGCHAMPS, and some others.
In the exercise of their talents, these writers suffer no striking adventure, no interesting anecdote to escape their satirical humour; but aim the shafts of ridicule at every subject likely to afford amusement. It may therefore be conceived that this house is much frequented. No people on earth can be more fickle than the French in general, and the Parisians in particular, in the choice of their diversions. Like children, they are soon tired of the same toy, and novelty is for them the greatest attraction. Hence, the Vaudeville, as has been seen, presents a great variety of pieces. In general, these are by no means remarkable for the just conception of their plan. The circumstance of the moment adroitly seized, and related in some well-turned stanzas, interspersed with dialogue, is sufficient to insure the success of a new piece, especially if adapted to the abilities of the respective performers.
Among them, HENRY would shine in the parts of lovers, were he less of a mannerist.
JULIEN may be quoted as an excellent imitator of the beaux of the day.