Theatrical Notes
Saw Jules Lemaitre for the first time. Attractive head of a young bull, face of a dreamy faun with a pair of eyes of purest blue, blue as periwinkle reflected in a bright spring. Do not understand his indifference with regard to the delightful act by Darzens, and above all that he does not mention Mévisto, marvellous Christ that made an extraordinary impression on all who saw it. Almost the equal of the divine Mounet, he is above comparison with any other tragedian. Why the Odéon do not enlist him, rather than letting the execrable X... continue to dishonour the wonderful verse of Athalie? (Mlle Weber is wonderful as Zacharie, Tessandier very weak. If I have time I will tell you a little about the astonishing Weber next time). Excessively remarkable, Alice Lavigne, in Joyeusetés de l'Anée. A marvellous sense of eurythmics in the Dance scene; very fine in the truly lofty command of an imperturbably continuous entrechat and like an automaton in the conversation of two dancers. In contrast, as some master or other said, an unexpected comedian bursts forth, and volleys of laughter fill the hall. The imitation of Paulus is uncannily accurate and thanks to a very slim figure, a very fine complexion, the very youthful voice of the actress, it is utterly charming. Mme Y... is mediocre as Mignon. Why does she add so many "trills"? During the "Air de Ballet" we really believe we are at the Neuilly fair, as it brings a beautiful woman to my attention. Note Thérésa's actions during the Victory choir in Cendrillon. It is far superior to Paulus. Pieds de Mouton is very weak. To use the well known expression "that I present to you plucked from the very lips of Mme Théo", Mimi will make you writhe.
Written for La
Revue lilas, November 1888.