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Updated: June 8, 2025
Three vaudevilles have already been played, and while the fourth is in preparation the public amuses itself according to its own riotous will and pleasure.
I hold no brief for suffering nor for well-being either. I am standing for ... my caprice, and for its being guaranteed to me when necessary. Suffering would be out of place in vaudevilles, for instance; I know that. In the "Palace of Crystal" it is unthinkable; suffering means doubt, negation, and what would be the good of a "palace of crystal" if there could be any doubt about it?
It hurls armies over the map of Europe of initiative and devotion in the common soldier, who in the Latin conception of the word remains a human being with a soul. An officer remarked to me, "We cannot have our men come from the trenches glum and downcast a Frenchman must laugh and joke or something is wrong with him. So we started these vaudevilles behind the lines, and sports."
The bitterness of this jest will only be understood by those who remember the deluge of engravings, screens, clocks, bronzes, and plaster-casts produced by the idea of the Soldier-laborer, a splendid image of Napoleon and his heroes, which afterwards made its appearance on the stage in vaudevilles.
After that, the lights come out up-town, and the New York of theatres and vaudevilles and restaurants begins to roar and flare. The merciless lights throw a mask of unradiant glare on the human beings in the streets, making each face hard, set, wolfish, terribly blue. The chorus of voices becomes shriller.
As all productions of this sort were, as usual, liberally rewarded by the Emperor, they poured in from all parts of his Empire. Three poets and authors of the theatre of the Vaudevilles, Barrel, Radet, and Desfontaines, each received two hundred napoleons d'or for their common production of a ballad, called "Des Adieux d'un Grenadier au Camp de Boulogne."
Petersburg, as conductor of the Imperial Opera, where he composed many operas and vaudevilles. He spent eight years in Russia, returning to Paris in 1811. The next year one of his best operas, "Jean de Paris," was produced with extraordinary success. Though he subsequently wrote many operas, fourteen years elapsed before his next great work, "La Dame Blanche," appeared.
I purpose now to make a few observations on the secondary species of the Opera, Operettes, and Vaudevilles, and shall conclude with a view of the present condition of the French stage with reference to the histrionic art.
In Malmaison, Bonaparte abandoned himself with boundless joy to his fondness for the theatre; here he applauded with all the gusto of an amateur, laughed with the laisser-aller of a college-boy at the harmless jokes of the vaudevilles, and here also he took great pleasure in the dramatic performances of Eugene, who excelled especially in comic roles.
In fact, the youth looked upon the playwright as a great author, and it was to Sebastien that du Bruel said, the day after a first representation of a vaudeville produced, like all vaudevilles, by three collaborators, "The audience preferred the scenes written by two." "Why don't you write alone?" asked Sebastien naively. There were good reasons why du Bruel did not write alone.
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