THE THEATRES, MUSIC, AND THE FASHIONS.

Globe, Volume III, Issue 206, 5 February 1875, Page 3

THE THEATRES, MUSIC, AND THE FASHIONS.

{From a correspondent of the Press.) Paris, Nov. 28. Tiieatees —Vaudeville —“ Le Chemin de Damas,” comedy in three acts by Theodore Barriere. In vain one will seek in this piece the charming author of the “Faux Bonshommes, f he Vie de BohSme, and the Filles de Marbre.” The Marquis de Parisians is an old Don Juan, a worn out Lovelace. In his salad days he received a visit from an unknown lady, who called on him to reclaim ' the letters and miniature of one of her lady friends, who dreaded the proofs of the liaison coming to the knowledge of her husband. The stranger so far forgot herself, that she yielded to the Marquis. After an hour’s ac-. quaintanceship, we are invited to believe an honest wife surrenders her virtue. Next morning the lady repents, writes a letter to her seducer announcing she is about committing suicide, signs it Mme de Zdbre, and takes poison. Her husband, after a three mouths’ absence, returns in time to save his wife ; he does not institute many inquiries as to the cause of her folly, nor does the marquis give himself any trouble to ascertain who Mme de Zebre is, and if she has really poisoned herself. Some nineteen years are supposed to have elapsed, and the Marquis is living at a fashionable watering-place, where the ladies -.all him the “ vampire of love.” He encounters Mme de Zebre and her charming laughter, aged eighteen ; and he learns from ;ier mother, that the young lady, Estelle, is iis own child, the offspring of the seduction. L’he Marquis is now afflicted with remorse ; he experiences the yearnings of a father, is named to find Estelle abhors him from his eputation, and she repels his attempts to mix himself up with the business of her approaching marriage with a bravo officsr, with mors than contempt. A

prey to dejection, he takes the bouquet of violets that Estelle has forgotten on a seat in the garden, and presses it to his lips; while in the act of so doing, he is observed by Estelle’s intended husband, who was coming to seek the bouquet. He insults the Marquis for profaning the bouquet with his kisses, and, expecting a challenge, believes he would be rendering society a service by ridding it of a professional debauche. Of course, such an unnatural duel cannot take place; Mme de Zebre countermands it. But the difficulties are not yet all conquered. The Marquis, anticipating the worst from the duel, had burned all his letters save one —that where Mme de Zebre nineteen years ago avowed her resolution to destroy herself as an expiation of her fault. Her husband, who as one of the seconds had called on the Marquis, observing the handwriting of his wife, quietly takes the letter for prudence sake, little suspecting its contents. Estelle arrives to implore her father to return, and as she is seated on his knee, her pearl necklace breaks, and the pearls roll about the floor. Everybody proceeds to pick them up, and as paper is wanting, the father twists the terrible letter into a bag, in which the beads are put, and thus the document finds its way into the mother’s pocket. The old Marquis announces that he will set out on his travels, take the road to Damascus —le Chcmin de Damns— meaning at the same to become converted as rapidly as St Paul, There is nothing original in the piece, but much that is old, and not a little that is unreal. The professional roue is not new, but there are certain subjects which will never be old, and that can never be-exhausted, provided they be rejuvenated with ingenuity in details, and discretion in the processes. The piece is deficient in direct and living observation; its action is hollow, its personages artificial. The letter scene is as old as the hills, and adultery is not at all emotional save in its actuality; it remains always a crime; but it becomes .antique, and somewhat archteologic, after the lapse of nineteen years. You cannot feel interested in a woman that loses herself with a libertine after an hour’s acquaintanceship. Still less in the paternal tenderness of the Marquis. Debauches are ever deficient in moral sense, and passes not a spark of tender sentiment. Don Juana become rarely a prey to remorse; they, on becoming old, become hypocrites, as Moliere has truthfully painted them. Conversions in extremis are ever suspicious, and in real life the Marquis, on learning that Estelle was his child, would shrug his shoulders, and experience a momentary regret; but his last thought would be to take the road to Damas. He is incapable of loving as he is unworthy ef being loved. To love his daughter, to display a paternal passion for her the moment he learns, after nineteen years, that she is his child, is not likely. The sentiment of paternity is not the affair of a moment, but of a long and delicate education. It is day by day that we become attached to our children by the sacrifices we make for them, and the cares that we hourly bestow upon them, wherein we see ourselves reflected. Thus we love them and cherish them as our image. There are about a dozen witty mordant phrases in the comedy, recalling Barriere’s old style,;but the rest of the dialogue is jerky and conventional. In addition, the representation has nothing remarkable, Cluny.—“ Lc Mangeur de Fer,” drama in five acts, by Edouard Plouvier. The revival of this play has proved a great success. It was first represented in 1860 and proved a hit. The “ Mangeur de Fer” is the soubriquet for a convict, who, like Love, laughs at locksmiths, bars, and bolts. He escapes from prison as easily say as a French marshal, but be ultimately arrives at the guillotine. The Duchess de Novailles has taken one Marie as protege, believing her to be the daughter of an exiled nobleman, which she is, though the girl herself does not know it, but remains vhe instrument of the “ iron-eater,” Porion, So well is she his creature, that he prevails upon her to poison the Duchess, the better to marry the young Duke her son. However, Porion is prevented from witnessing bis plans succeed, as having killed a policeman’s daughter, he is arrested and thrown into prison, from which he in time duly escapes. Marie is about being married to the young Duke when Porion appears; she is now aware she is not his sister, and full of remorse at having poisoned her intended mother-in-law and benefactress, she avows her crime and expires. Porion seeing the game to be up, confesses who he is, and this time he does not escape the tormentors. The peripatetics of the piece though long are interesting, and belong to the “Balzac world.” The role of Porion is well played, and requires much dramatic ability; the detective who seeks to revenge his murdered daughter is a very successful part, and the drunken scene is well acted; the part of a brigande is so well represented, that one regrets her fall, and sympathises with the success of nearly all her bad works. The drama is full of astonishing resources, its style is superior, and the author respects both himself and the audience. Each character has the language approapriated to its condition, and the contrasts between the characters are full of effect.

Music—Varieties. —This theatre has revived Sardou’s “ Pres Saint-Gervais,” written

twelve years ago, aud in which Mile Dejazet was so charming in the role of the Prince de Conti; where the illusion was perfect, of a handsome little lord, belonging to ihe ancient court, playing the truant. Originally the piece was a small Vaudeville in two acts; it has now been considerably revised and an act added. It is at present something between operette and comic opera; the music is by M. Lecocq, the composer of Mrue Angot, whose harmonious Billingsgate has made the tour of the world. The Prince having escaped from his tutor, commences his truant life by falling in love with a pretty flower girl; he finds himself involved in a duel with a Sergeant Larasse, then invites himself to a picnic that a John Gilpin vnd his family are enjoying, aud who inform the prince that old soldiers must be respected, that a prince is but a man, and that l nothing distinguishes him at first sight from ordinary mortals. The piece is full of life and amusement, but Ihe libretto seems to be inundated with music, in a great measure weakening the general flavor, Some pretty morsels, however, swim; the “ tutor’s chorus” is extremely comical; the “ lily of the valley and the rose” is a charming madrigal; Sergeant Larasse’s serenade” of Monsieur Uxcole, where be accompanies himself with a drum, is most humorous. *• Souvcncz-vous” nnd the '• Femme sensible” were also wann'y welcomed. The piece is a success, and the music will soon become popular. It is strange that a composer of tiue talent, such as Lecocq really is, wastes bis time in this kind yf music, wheu he is so peculiarly adapted

for opera-comique compositions. Also, Mme, Pcschard, who make such a inimitable Prince de Conti, is fitted for music of a higher character; smirking, simpering, and affectation, should be left for those who cannot go beyond boiiffe parts. [Renaissance. —This house has at last furnished Parisians with the famous operabouffe, “ Girofie-Girofla,” in three acts, the music by M Lecocq. The work was first represented at Brussels. Opinion is nearly agree that “ Girofl6-Girofla” will hold its own beside the author’s other success, the “ Fille de Madame Angot;” the libretto of the latter is, however, superior, but the situation is always the same. The story turns upon two sisters, twins; one is promised in marriage, Girofla, to the terrible Mourzouk, and Girofiu is already wedded, Girolla has been carried off by pirates, so that when Mourzouk arrives, her parents endeavor to pass off Girofle to appease his wrath ; but Girofle’s husband objects to this solution, and just as Mourzouk commences to reduce everybody into powder, Girofla has been rescued. There is a little that is broad in the piece, which perhaps is overlooked in the gaj, lively, and dashing manner in which it is interpreted, and it is difficult to find fault where one can do nothing but laugh. The music of M, Lecocq is sprightly, very rhythmical, ingenious, and occasionally a little dreamy and sentimental, which is anything but a fault. The love duets in the first and third acts were very much admired, as also the dinette duo-all full of taste and gracefulness ; the “ pirates’ ” chorus was also warmly applauded. Mdlle. Granier filled the role of Girofie-Girofla ; her voice is not powerful, nor her acting excellent, but she sang with much charm and finesse, producing with decency those passages which other artistes would render coarsely. The part of Aurore was well interpreted by Mdlle Alphonsine. M. Vauthier, as Mourzouk, was not very remarkable as an African husband. Altogether in “ Girofie-Girofla,” Madame Angot can welcome another happy daughter. Opera - Comique. drama in five acts, by Gounod. It is ten years since this work was originally represented, and then as now it has failed to attract. Some assert it came too soon after the author’s “ Faust,” into which he had put all his talent; others blame the breakdown of the phantom scene, which instead of frightening made the spectators grin. The piece is really tiresome from the third act, and the public continues to be of the same impression. The charming chorus of the “ Magnanarelles ” was well received, as also the delicate waltz in the beautiful first act. Though Mme Carvalho was admirable in the simple and touching figure of the young girl, yet the composer’s inspiration was below her talent. Oratorio is a kind of music next to unknown for Parisians, and it is no small progress to witness the large summer circus in the Champs Elysecs crowded to hear Handel's “Judas Maccabieus.” M. Lamoureux deserves great praise for instituting these representations, and with at best limited means, for France, unlike England and Germany, has not the imposing resources for such a musical solemnity. The chorus and soloists on this occasion were much better than last year, as also the orchestra, when the“ Messiah” was performed. Handel wrote his “Judas Maccabmas” in three weeks, and many in this country considers it to be the oratorio in which is manifested the most of greatness and variety of inspiration. The dramatic sentiment is there revealed in the middle of severities of the purest classical style, with a superbness of energy only equalled by the truthfulness of expression. A real Gipsy baud has appeared, called “Tziganes,” consisting of twelve members, natives of Hungary, and dressed in national costume. Not one of the executants can read music, but they have a wonderful memory, and learn their parts by hearing them played on the piano. Their chef is a remarkably handsome man, aged thirty. His subalterns arc under twenty-three years. He directs them while executing himself the principal parts. Their programme includes, amongst the most applauded pieces, the Fisherman’s song, and some new polkas and waltzes bv Strauss.

Fashion.— For promenade toilettes, dark failles ; English velvet with [feathers, and cloth and stuifs according to taste, are most in favor, Colors in olive green and tan are very general, and for demi-toilette, orange, cherry, black and Persian blue striped materials are preferred. For balls and evening parties' ladies were never more richly dressed than at present; stuifs have never been more beautiful, nor the reign of fantasy more free; plain and embroidered silks, matelasse, of all patterns and of all shades; satin, velvet, rich lace, pearls, and flowers. White tulle dresses are trimmed with wild berries in chaplets, and hazelcolored velvet; the princesse form of robe being general, and the scarf is composed of shaded ribbon, commencing with the darkest and ending with the lightest tint. A soft material and excellent for dinner dress may be found in pink and blue cashmere. The dolman, though revised and corrected, is still the dolman, and where matelasse is employed,, it is trimmed with cock’s feathers “in a passion.” The velvet cuirasses, now so generally worn, look very pretty with their pearls and feathers, but one may doubt if they supply all the conditions as to comfort. Polices are long waisted; loopings and flounces no longer conceal the figure; straightness and'narrowness across the hips may not suit all ladies, but can be remedied by the new, or rather old, steel articulated petticoat, flat in front and at the sides. A hat is no inconsiderable matter now»a*days, it is a work of art; whether in the street, carriage, or promenade, hats have side rims, are made in felt or velvet, with the amaxone feather and plume of cock’s feathers. For ceremonial hats only, the colors are bright; grey felt and dahlia velvet combine elegantly for the new round hat; for evening wear ladies prefer a very light-colored hat, and as coquettish as possible; the Van Dyck is distinguished by its peculiarly elegant natural flowers; the “ Betty ” has the border at each side raised with feathers and a bird with distended wines. The Medicis is in black at d white, with velvet pansies and bronze foliage. Everything is garnished with fur, even to being abused. Sable is again becoming king, blue fox, skunk, and marraotte are next in favor, as they can never be confounded with cats’ skins. Astrakan is tabooed. The boa will be in as much request as last year, but it must be long enough to pass twice round the neck, and to fall behind as far as the jupe. Muffs perhaps are smaller. The favorite cravat is in white muslin, with lace ends; the white silk cravat is, however, most in favor. Other colors are also in request. Nothing new in fichus.