The interesting thing about the above letter is, of course, the proof that Sarah, during her disagreements with Damala, went back to Berton, with whom she subsequently quarrelled after her reconciliation with Damala.
The phrases which stand out are: “Sarah declares that if you play Andréas she will refuse to play Théodora on tour ... which will mean a loss to me of 20,000 francs.... I was thus obliged to consent”; “Make her pay you. It is the least return they can make for the low humiliations which the caprices of heart of the great artiste inflict on you.” “By all means, do not break with Sarah or with Bertrand, because of the future.”
There came a day, however, after he had married me, when Pierre Berton could no longer stand these humiliations heaped on him by Sarah. He retired definitely from the stage to devote himself to dramatisation, his most successful play being Zaza, which was an enormous success both in England and America.
CHAPTER XXVIII
During the rehearsals of Théodora at the Porte St. Martin, Richepin invariably accompanied Sarah Bernhardt to the theatre. This enraged Victorien Sardou, for it was then and has since remained a matter of unwritten theatrical law that one dramatic author should not visit the rehearsals of another’s play.
Eventually Sardou made a scene one afternoon in the office of Duquesnel, the manager. I happened to be present, having had a previous appointment with Duquesnel.
Beside himself with anger at the slights she was constantly heaping upon him, Sardou abused Sarah and Richepin, coupling their names in language of considerable vigour.
Sarah, as it happened, was in an office next to that of Duquesnel, and heard every word. Bounding forth, she rushed into Duquesnel’s office and cried:
“I have heard all! You are animals and pigs! Richepin is an être délicieux! I will not remain in your odious theatre another instant! I refuse to play this pig’s piece!”—indicating Sardou, who was too much astounded to say a word.