PARBILLN THEATRICALS.
A one-act vaudeville of more than common interest is now performing at the Gymnase. A wealthy man, played by M. Geoffroy, has been ruined by an unforeseen accident ; but the misfortune is concealed from him by the members of his family, out of regard to his enfeebled state of health. The position of a man who believing that he is rich would act accordingly, but has to be checked in his extravagance without any dis- closure of the cause for economy, is novel, and gives rise to some inge- nious situations. A faithful servant, acted by M. Lesueur, removes the
difficulty, by replacing his master's loss, with part of an immense for- tune bequeathed by a convenient uncle. The piece is entitled Riche de Coeur; and the authors are MM. Duvert and Lauzanne. The names Orgon, Leandre, Colombine belonging to the dramatis personte of a dramatic trifle in verse, written by M. Theodore de Ban- ✓ illa, and produced at the Vaudeville, show that the taste for a class of entertainment once so popular at the Foire St. Laurent is not wholly extinct. The very title, le beau Leandre, seems to send one at least a century back. Colombine, it should be observed, is represented by Mademoiselle Luther.
The well-worn theme of misanthropy has been treated anew by M. Rosier, in a three-act comedy, entitled Chaeun pour Sot; produced at the Vaudeville on Wednesday last. Louis Delson, the misanthropic egotist of the piece, has made up his mind, that, "Chacun pour 801 " being the maxim of the age it is better to be the cheat than the cheated. A variety
of incidents confirm him for awhile in his unfavourable opinion of man- kind ; but, at last, things turn out to be not so bad as they have seemed, and the repentant man-hater declares that " Chacun pour tons" shall be his maxim for the future.
A non-official announcement, to the effect that M. de la Rounat, the recently-appointed director of the Odeon' is about to produce a series of Shakspere's plays, accurately translated from the original, has created some controversy in the theatrical world of Paris. M. Theophile Gautier, who is of opinion that the plays of Racine and Corneille are more suited to the closet than to the stage, rejoices at the expected innovation ; which, on the other hand, is opposed both by the champions of the old classics and by the advocates of living "native talent." To understand the force of the controversy, it is necessary to bear in mind that the Odeon receives a Government subvention.
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