The difficulty arose not so much from the question of salary, however, as from the fact that Sarah Bernhardt would be playing in a foreign capital, and would be in an inferior position as regards the billing and the programmes. The custom of the Comédie was strict in this regard: the name of the oldest sociétaire in rank appeared first on the programme, regardless of the rôle she played. This was understood in Paris; it might easily be misunderstood in London.
“If,” insisted Sarah, “I go to London, it must be as a full member, with a full member’s privileges and emoluments.”
There was an immediate rebellion in the committee.
“We have had enough of her caprices!” cried Perrin. “Let her remain here, if she wants to! I will not consent to her demands!”
Nothing in Sarah’s contract, it appeared, obliged her to travel abroad. So it was settled that she should not go.
Then Hollingshead and Mayer threw another bombshell into the excited and harassed committee of the Comédie Française. If Sarah Bernhardt was not coming, they said, they did not want the troupe at all, and they hereby cancelled the contract!
The end of it was that Sarah obtained her full membership, as did Croizette, and the whole troupe embarked for London. The first man to greet her as she stepped ashore in England was Oscar Wilde. He became a great friend of Sarah’s some years later—a friendship that only ceased with his downfall.
Sarah’s first visit to London was not the triumph which she had anticipated, though she had her share of the laurels. Her lodgings at 77, Chester Square which were procured for her by William Jarrett, the impresario who later managed her tour of America, were crowded with celebrities, but they came out of curiosity and not to pay homage.
Stories of her eccentricities had long been printed in England. She was looked upon as a wild woman, and her morals were much discussed and severely commented upon in staid London society. Everything she did in London during this first visit evoked hostile comment. The papers praised her performances, but criticised her sensational appearances in society, into which she was introduced by Lady Dudley.
Queen Victoria vetoed a suggestion that she should play in a State performance at Court. The Prince and Princess of Wales were not in London on this first occasion, and their tolerant influence did not make itself felt.