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Updated: May 28, 2025
But MM. Meilhac and Halévy, having made one success, did not further attempt the same kind of pleasantry wiser in this than Mr. Gilbert, who seems to find it hard to write anything else. As in the Château
With Réjane the vitality is direct; it is the appeal of Gavroche, the sharp, impudent urchin of the streets; Sarah Bernhardt's vitality is electrical, and shoots its currents through all manner of winding ways. In form it belongs to an earlier period, just as the writing of Dumas fils belongs to an earlier period than the writing of Meilhac.
The first very successful play which MM. Meilhac and Halévy wrote together was a book for M. Offenbach; and it was possibly the good fortune of this operetta which finally affirmed the partnership.
And of one-act plays Meilhac and Halévy have written a score or more delightful little genre pictures, like the Été de Saint-Martin, simple pastels, like Toto chez Tata, and vigorous caricatures, like the Photographe or the Brésilien. The Frenchman invented the ruffle, says Emerson: the Englishman added the shirt. These little dramatic trifles are French ruffles.
M. Meilhac has the strength of marked individuality, he has a style of his own, one can tell his touch; while M. Halévy is merely a clever French dramatist of the more conventional pattern. This we detect by considering the plays which each has put forth alone and unaided by the other.
But in 1856 the Sarabande du Cardinal, a delightful little comedy in one act, met with favor at the Gymnase. It was followed by two or three other comediettas equally clever. In 1859, M. Meilhac made his first attempt at a comedy in five acts, but the Petit fils de Mascarille had not the good fortune of his ancestor.
And even to the last detail, the ribbon laces above the ankle and the gold-buckled shoes, he was the sketch of Georges Meilhac sprung into life.
He should see and describe the room, the garden, the sea-shore, or whatever the place of his action may be, not as a stage-scene, but as a room, garden, or sea-shore in the real world. The cultivation of this habit ought to be, and I believe is in some cases, a safeguard against theatricality. Pailleron wrote "enormous" scenarios, Meilhac very brief ones, or none at all. Mr.
Beginning life in the Civil Service, he himself achieved considerable distinction as a dramatic author, "Frou-Frou," written in collaboration with Meilhac, being one of the greatest theatrical successes of his century. He soon, however, forsook the drama for fiction.
The fact that such a union endures is proof that it is advantageous. A long-lasting collaboration like this of MM. Meilhac and Halévy must needs be the result of a strong sympathy and a sharp contrast of character, as well as of the possession by one of literary qualities which supplement those of the other.
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