Wichita eagle., 1890-01-15
THE OLD FRENCH STAGE.
ANECDOTES OF ACTORS OF TWENTY
ODD YEARS AGO.

| They Were All Put "En vedette''-Tryin:
| to Be Accurate in the Matter of Costuna-
inc-Brunet Behind tine Wail-Some Of
the Curious BIunders of Theatre Goers.
| NJ. Frederic Febvre, societaire of the Come
die Franchise has just published volume to
which, with questionable taste, he has given
the punnipg title ION tae Borders Of the
Scener Seine, the French word scene" be
ing pronounced exactly like the name of the
river. Like most Of the works written by
famous actors, it is rather disappointing.
Yet it contains some curious anecdotes. lie
tells, for instance, how the manager OF the
Theatre de la Gate, when Henry LII and
His Court was to be revived at that house
in 1856 remarked proudly, Il have just
ruined myself for the costumes and furniture
and accessories; they will cost me at least
81 200" THAT sum-" continued Febvre,
represents about what IVES paid for my COS
TUNES ar1nor and arms in the role of the
Due de Guse when that piece was mounted
at the Coincide FRANCHISE IN 1889"
ALL WERE ZEN vEDETTE."
He also cites a superb remark made bv
Frederic Lemaitre when Henry Ill" was
given at the Gate All the leading perform
ers demanded the privilege of having their
names sen vede5te," that is to say, at the
head of the programme, and In letters larger
than the type allotted to the rest. In his en-
barassnent Hostein consulted IIe1naitre as to
what be should do. ''Put everybody 'en We
dette.'" responded I.emaitre. land stick me
in with the rest The public will find me out
at the performance So the entire cast was
fho RAJ
form of horseshoe.
II. Febvre quotes the following remark or
Talna, which was told him by one of the
sons of the tragedian. One evening, IN his
dressing room, Talma had just put on the
costume Of Manlius. After having cast
long glance on the draperies Of his toga, he
said to his son, ''There! half OF my part Is
PLAYED" Which proves the extreme import
ance attached by the celebrated tragedian to
the details of his dress. Melingue, who was
widely famed as a mel0dramatic actor, and
who created several of the leading roles IN
the principal pieces Of the elder Dumas, was
also noted for the carefully studied details OF
his costume The artistic draping of his
classic robes rather worried the tragedlans OF
the Rue Richelieu.
81 remember one day. says Febvre, I'VE
were playing two Circassian chiefs IN the
'Schamyr of Paul Meurice at the Porte st.
Martin. Melingue was accustomed to come
to the theatre at O'Clock, though the per-
Torrance did not begin till half past z. On
passing before his dressing room | noticed
that he was very busy. | entered, and was
struck dumb with anazement. He was shaw
ing his legs from the knee to the ankle, as
man shaves his chin. Then, this operation
finished, he painted his legs as he had painted
his face, and put on ais babouches. AS may
be imagined no tights, however fine, could
have given a result similar to that obtained
by this novel process.
"Yet, in trying to be too accurate, the &C
tor may more easily attain the comic side OF
the we'll known phrase, "A picture stepped
from its frame OF this l will give two eI-
emples. In the drama Of Oliver Bassein' at
the Theatre de La Renaissance, Adolphe Ber-
ton was to play King Charles VIZ In his
love of accuracy the actor had borrowed from
the Museum of Artillery e real henlet of the
period. Had it become rusty during its long
soiourn in the midst of all that historical
ironware, Or did it possess hidden spring of
which the actor knew nothing? At allevents,
in the midst of the most thrilling scene of the
drama, the vizor suddenly fell and Berton,
in spite of all MS efforts could not raise it
again So he was forced to finish the piece
in that unpleasant predicament, and Charles
VII anticipated the legend of the Iron Mask"
Febvre gives an amusing instance of con-
seriousness in costume on the part of an actor
called Brunei. In comedy called GA House
rs Lottery Prize" he played the role of a
landlord, who spoke on the other side of the
nd in nv fhe
audience. Nevertheless every evening Brupet
dressed himself carefully, even to the wig and
spectacles The manager remarked to him
one evening that he took great deal Of use
less trouble, since none of the spectators could
judge of the correctness Of his costume. NC,
mol it isnot useless" answered Brunei. "With
the dress of the landlord assume his bear
ing, and with his bearing his voice. Besides,
suppose the wall were to faN!'
Febvre also notes the fact that certain styles
of dress are only suitable for certain kinds OF
plays He remarks, for instance, that the
Louis XIV costume is seldom employed for
tragic dramas, but is perfectly suited for
comedy, as are also those Of the Regency and
of Louis XIV. The Middle Ages AID the
reign of Louis XIII are the most appropri-
ate for the CLOAK and sword Dramas The
Louis XVI costume is reserved for calm and
discreet plays, which cause more drawing
forth Of handkerchiefs on the part of the
spectators than of swords among the &C
tors. 4 costume often employed in dramas
of demi-tone and always with success is
that of the First Empire. The hardest of all
costumes for the actor to wear is, without
contradiction, that of the reign of Louis XIV.
The embroidered coat, satin brooches and
high heeled shoes demand in thu wearing a
peculiar ease of manner and bearing.
COMMENTS OF SPECTATORS.
Febvre gives some amusing instances OF the
lack of comprehension manifested by specta-
tors, certainly of average intelligence col-
corning the plots and incidents of plays that
they have witnessed He once gave young
servant Of his own tickets of admission to go
see The Courier OF Lyons He asked him
the next day if he thought that Lesurques
was guilty or innocent 'Of course he was
guilty monsieur" was the answer, las the
two men were only the same one disguised"
Then in The Children's Doctor by Den
merry, when it was represented at the Gate
theatre. Febvre played the part of the lover
of the piece a young officer who only appears
in the second and fifth acts. There was also
the role of young mother whose death took
place early III the action. In the LAST act the
heroine WAS supposed 20 be dying, and her
lover, forcing his way into her room, cried
Let me pass-let me pass. Alive
or dead. ! must see herr The girl reviYes,
and the curtain fell On toe happiest kind OF
deuoueneat, namely, tie approaching mar
riage of a youthful pair. One evening sitter
the play. Febvre and several Of his coInpau-
ions went to the cafe of the theatre 10 take