Mdlle. Parisot.
The Ballet does not receive so much attention in the public press, as the Opera—and, as far as I know, there are no means of getting at the biographies of the premieres danseuses.
The first of note during this period is Mdlle. Guimard, who was then playing in the ballet of "Ninette." It is just possible that there may be a suspicion of caricature in the illustration.
The Ballet was a special feature at the Pantheon Theatre (the site of which is now occupied by Messrs. W. & A. Gilbey of Oxford Street), which was built as a counter attraction to Carlisle House, then popularly conducted by Madame Cornelys, of whom more anon.
"The Pas Trois, introduced into the Ballet at the Opera House on Tuesday night, for the first time, had a very pretty effect. It goes to the tune of 'God save the King,' and is intended as a compliment to his Majesty."—(Times, Feb. 16, 1793.)
"Simonet, the dancer, and Grenier, who keeps the hotel in Jermyn Street, were, last week, ordered to depart the kingdom."[11]—(Times, March 26, 1793.)
The centre figure in this illustration is M. Didelot—and the danseuse on the left, is Miss Rose, an English-woman, who was not bewitchingly handsome, though a good ballerina. The lady on the right is probably Mdlle. Parisot.
"The OPERA.—The mania of expectation was, on Saturday night, at the very acme of curiosity. The Pit was so crowded even before the drawing up of the curtain, that it was not possible to edge another face into the area. Stars, garters, feathers, and turbans, were so jumbled, and intermixed, at the doors, that all sex and identity were indistinguishable. The stage itself was crammed on all sides, and in such a manner, as to render the shifting of the scenery 'a work of labour, and a service of danger.' So eager, indeed, was the desire of seeing Didelot and Rose, that the wings were crowded with Ladies. Amongst those Ladies who thus made their first appearance on the stage, we heard some very respectable, and titled names.
"The new Ballet of Les Trois Sultanes taken from Marmontel Hillisberg, is the 'Cock-nosed English-woman,' yet while we remember Abingdon and Jordan in Roxalana, with all the roguishness of language, mere action must appear dull, and unentertaining. It were injustice, to be sure, to decide what effect the Ballet might have produced, could it have been fairly exhibited: but the stage was so very full, that figure dancers could scarce round a horse-shoe to trip in, and no performer could make an exit. Didelot and Rose appeared again in the Ballet, lugged in without character, merely to shew themselves. We hope that some Ballet will be got up wherein they may display the fulness of those powers, and talents, which the great world allow them to possess."—(Times, Feb. 22, 1796.)