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The Figaro, which was in a very bad humour with me just then, had an article from which I quote the following extract: "L'Etrangere is not a piece in accordance with the English taste. Mlle. Croizette, however, was applauded enthusiastically, and so were Coquelin and Febvre. Mile. He knew perfectly well, this worthy Mr. He had been to my house and seen Dr.
For those who have not actually had experience in the matter, this advice will seem trite and unnecessary, but those who have even a little experience will realize with me the extraordinary efficacy of this very simple means. It is really what Coquelin spoke of as a "high light," where the interest is focused, as it were, to a point.
Most important among these were the “4 z’Arts,” Boulevard de Clichy, the “Tambourin,” and La Butte. Trombert, who, together with Fragerolle, Goudezki, and Marcel Lefèvre, had just ended an artistic voyage in the south of France, opened the “4 z’Arts,” to which the novelty-loving public quickly found its way, crowding to applaud Coquelin cadet, Fragson, and other budding celebrities.
Probably the built-up nose of Coquelin as Cyrano de Bergerac will be thrown in my face; it must, however, be remembered, that apart from his large elastic mouth Coquelin's face was rather wooden, and he relied for expression chiefly on voice, mouth, gesture and movement.
Drop in, if you are in Paris and know the way, at one of Madeleine Lemaire's informal evenings in her studio. There you may find the Prince de Ligne, chatting with Rejane or Coquelin; or Henri d'Orleans, just back from an expedition into Africa. A little further on, Saint-Saens will be running over the keys, preparing an accompaniment for one of Madame de Tredern's songs.
Coquelin was excellent; but I do not like him so much in his pathetic roles; his squeaky voice and nasal tones do not belong to the sentimental style. After the play he gave a monologue, which was the funniest thing I ever heard, "Les Obseques de Madame X ." The whole house was laughing, and most of all the Emperor.
In a word, the age that has seen Rachel, Seebach, Ristori, Charlotte Cushman, and Adelaide Neilson, the age that sees Ellen Terry, Mary Anderson, Edwin Booth, Joseph Jefferson, Henry Irving, Salvini, Coquelin, Lawrence Barrett, John Gilbert, John S. Clarke, Ada Rehan, James Lewis, Clara Morris, and Richard Mansfield, is a comparatively sterile period "Too long shut in strait and few, thinly dieted on dew" which ought to have felt the spell of Cooper and Mary Buff, and known what acting was when Cooke's long forefinger pointed the way, and Dunlap bore the banner, and pretty Mrs.
But Madame Bulot had not seen her, nor had Madame Gerard, nor had the doctor, nor had little Mademoiselle Coquelin, the dressmaker. Madame Armstrong had been observed on the road which led to the Bois de Falaise some four hours ago, and that was the latest news of her. The vague inquiet began to deepen into serious misgiving.
When she is not at her best, we see only the actress, the incomparable craftswoman openly labouring at her work. To see Coquelin in Molière is to see the greatest of comic actors at his best, and to realise that here is not a temperament, or a student, or anything apart from the art of the actor. His art may be compared with that of Sarah Bernhardt for its infinite care in the training of nature.
His latest sonnet was to an abstract girl somewhere in France which the Socialist, who was a man of critical judgment in everything and of a rollicking disposition, praised very highly and read aloud with the elocution of a Coquelin.
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