VERTPRÉ excels in personating a striking character.
CARPENTIER is no bad representative of a simpleton.
CHAPELLE displays much comic talent and warmth in the character of dotards, who talk themselves out of their reason.
LAPORTE, as a speaking Harlequin, has no equal in Paris.
So much for the men: I shall now speak of the women deserving of notice.
Madame HENRY, in the parts of lovers, is to be preferred for her fine eyes, engaging countenance, elegant shape, and clear voice.
Mesdemoiselles COLOMBE and LAPORTE, who follow her in the same line of acting, are both young, and capable of improvement.
Mademoiselle DESMARES is far from being pretty; neither is she much of an actress, but she treads the stage well, and sings not amiss.
Mademoiselle BLOSSEVILLE plays chambermaids and characters of parody with tolerable success.
Mademoiselle DELILLE, however, who performs caricatures and characters where frequent disguises are assumed, is a still greater favourite with the public. So much has been said of the glibness of a female tongue that many of the comparisons made on the subject are become proverbial; but nothing that I ever heard in that way can be compared to the volubility of utterance of Mademoiselle DELILLE, except the clearness of her articulation. A quick and attentive ear may catch every syllable as distinctly as if she spoke with the utmost gravity and slowness. The piece in which she exhibits this talent to great advantage, and under a rapid succession of disguises, is called Frosine ou la dernière venue.