The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-01-07
AIeXandre dumas, Drnmas.

The London Sd Uddy ReU1eU, III critical
notice of Alexandra Dumas Souvenirs Drama
tiques," recently published in Paris, gives the
following interesting information about the
manner in which Dumas principal dramas were
originally produced:-
The paIer entitled Mon Odysee a la Comede
Francaise," comprising the career OF M. Ddmas
while working tor that theatre, which represents
the legitimate Drama of France, is perhaps the
most interesting and Instructive OF all, being
masterpiece OF gossip, written in SO true
spirit OF comedy that we have right to sus
pect that the conversations which are OCCASION
ally recorded have been touched up by the hand
Of the Odysseus. The first work which
cation with the Theatre. Francois was a
tragedy, Christine Fontamebtedu, the
plot OF VIII ch relates TO the murder oil the
Queen of Swede1's secretary, Monaldeschl, by
the hand OF his royal mistress. No one had
previously dared to bring miserable pol'roon
ache upon the stage as tragic hon, and M.
Dumas congratulated himself on his bold in
vention when be exhibited Monadeschi as
type of what is despicabie in man. The actors
dld not seem particularly 10 admire the perfect
scOundrel, and one of them, M. Laton, was of
opinion that the play would be greatly i'm
proved if some grand gentleman were INTRO.
duCed who in exalted language would explain
10 the Queen the Improperly OF her conduct.
Such part Nj. Laton coveted for himself, being
the habitual actor OF what were called "Cheva.
liers Francais" that Is to say, of those to Wer-
ing declalmers Of the old classical school, who
were not necessarily French, but were
supposed to represent the beau tdedt
of French chivalry, which might even be MD
under the tuI ban OF Turk. The refusal of the
author to introduce so desirable q character
alienated from him the goodwill OF NJ. Laon;
and when his piece was at last put into rehearsal,
he bad sQuabble with Madlle Mars, who IN
sisted on the omission OF twenty lines which he
insisted on retaining. The lines iu question ne
reprints for the benefit of the reader, passing ON
them the modest judgment:-"On en- fait de
nln ms 1S nn q n q 1p
The result o the controversy was that Mad'le
Mars threw uD her part, and the tragedy was
taken to the Odeon, where the murderous Queen
was represented by Mad'le Georges.
To the production of Henri III, the second
piece brought by M. Dumas to the Theatre
FraL Gals, Mad'lle Mars again proved an i'm.
pedmtnt, inasmuch as she objected TO the
appearance Of Mad'lle. Louise DeSpreauX as the
page, while the author, to oblge friend to
whom the young lady was pupil, refused to
alter his cast. The objection, however, was
surmounted, and the success OF the play was
great.
The next work was ARtony play of which
the name at least is more familiar than that of
either of its predecessors. AT first there was
general opinion that this audacious drama would
be stOI ped by the Censor, but the revolution of
July was followed by temporary suspension of
the Censorship, and Antony was put into re-
hesrsal. Again a difficulty on the part of the
terrible Dadlle Mars Her objection to Mad'lle
DespIeaux is attributed to the natural repug-
nance of faded beauty to stand Iu juxtaposi-
ton to young and lovely girl. In the case Of
antony the great artist disliked her part and
when lie fr't performance had been announced
as about TO take place, after lapse of couple
of day she observed that il would be eXpedent
TO wait TIL an Improvement was made in the
lighting of the theatre, as she had invested a
large sum In the purchase of four dresses, which
she wished to display TO the best advantage.
The new light could not be completed in less
than three months, and the desired delay would
defer he production of the piece to period OF
the wear which would limit its run to three
represC ntations. Another difficulty arose with
respect to the principal male character, and the
author in huff took Antony 20 the Porte Saint
Martin. where 1t was played by Madame DorVal
and Bocage.
The history of the fourth play, Caliguld, is
comlcal enough. One day M. Anlcet Bourgeois,
the well.kLoWn dTamatist, called upon M.
Dumas 10 suggest capital notion. Adolphe
Franconl, the manager of the Cirque, was
blessed with the possession of performing
horse, and the notion was to write play on the
subject of Caligula, In which the sagacious
animal should play the immortal Consul. An
accident to the horse led to an abandonment OF
| ,he project, but the suggestion of NJ. Bourgeois
| had caused M. Dumas to study the history OF
Imperial Rome, and he was so wonderfully
| taken with the record of the wicked emperor
| that he determined to write play in which the
| horse consul should be left out. He had oeen
invited by the Duke OF Orleans TO stay with him
at Con peign ne, and wished to refuse the invita-
! ton on the score of the necessity which he
| felt 10 complete his great work. His excuses
were not accep' ed, but he was allowed to reside
IN private lodging where, living at the modest
| rate OF 800 francs month, he brought CdHgWd
10 q close in about five weeks.
In the meanwhile he had little fight on the
SUBJECT OF An'ony, which, as above stated, had
neen brought out at the Porte Saint Martin.
htques'ed by M. Theirs to give him a call, he
complied with the request, and was asked why
| he preferred writing for the theatres of the
boulevard to more honorable labor In the ser
vice OF the Theatre Francais. His answer,
| nunncial taIP