Georges Feydeau - Knowledge

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ordinary life; Feydeau's is cruel, claustrophobic, and smacks of mania". Discussing his technique, Feydeau said, "When I sit down to write a play I identify those characters who have every reason to avoid each other; and I make it my business to bring them together as soon, and as often, as I can." He also said that to make people laugh "you have to place ordinary people in a dramatic situation and then observe them from a comic angle, but they must never be allowed to say or do anything which is not strictly demanded, first by their character and secondly by the plot". Although in private life he was known for his wit, he carefully avoided it in his plays, holding that witty theatrical dialogue interrupted the action.

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situations. From Hennequin – who had started as an engineer – Feydeau drew the intricate plotting, described by Pronko as "endless mazes of crisscrossing couples, scurrying from door to door, room to room in every possible and impossible combination". From Meilhac he learned the art of writing polished dialogue, sounding elegant but natural. From these three influences, Feydeau fashioned what Pronko calls "the last great masterpieces of the vaudeville form".

484:, a prosperous portrait painter. The couple had four children, born between 1890 and 1903. The marriage was ideal to Feydeau in several ways. It was a genuine love-match (though it later went awry); he was an ardent amateur painter, and his father-in-law gave him lessons; and marriage into a well-to-do family relieved Feydeau of some of the financial problems arising from his succession of theatrical failures and heavy losses on the stock exchange. 5533: 621:, noting that the laughter reverberated inside and out of the auditorium, said that a reviewer could only laugh and applaud rather than criticise. Another critic, predicting a long run, wrote that he and his colleagues would not be needed at the Nouveautés in their professional capacities for a year or so, but would know where to come if they wanted to laugh. The play ran for 371 performances. An English adaptation, 4322: 551:… a vaudeville so extremely bright and joyous, and at the same time so irreproachable in its atmosphere, that it obtained an extraordinary success by reason of a kind of mad gaiety which characterized it. ... I have never seen an audience give itself up more completely or continuously to unbridled hilarity. 950:

When Feydeau took a break from writing to study the works of his most successful predecessors, he focused in particular on three playwrights: Labiche, Hennequin and Meilhac. From Labiche he learned the importance of close observation of real-life characters, lending verisimilitude to the most chaotic

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The critic S. Beynon John contrasts Feydeau's farce with that of the English theatre of the same period – the latter "cosy and genial", and Feydeau's "sharply subversive". John also contrasts Feydeau with the earlier French farceur, Eugène Labiche: "Labiche's world, though fantasticated, is rooted in

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thought the play insubstantial, but, it enthused, "what gaiety in the dialogue, what good humour, what pleasing words, what fun in this childishness, what unforeseen things in this madness, what comic invention in this imbroglio, which obtained the most outright success one could wish to a beginner!"

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Several of Feydeau's plays have been adapted for the cinema and television. Although he was active well into the early years of film he never wrote for the medium, but within two years of his death in 1921 other writers and directors began to take his plays as the basis for films, of which more than

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The Feydeaus' marriage, happy for its first decade or so, had begun to go wrong by the early years of the 20th century. Feydeau gambled and lost large sums and in 1901 had to sell some of his valuable art collection; his wife was said to have become bitter and spendthrift. Finance became a continual

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and that one of them was the father of Georges, her first child. In later life Léocadie commented, "How can anyone be stupid enough to believe that a boy as intelligent as Georges is the son of that idiotic emperor!" She was more equivocal about her relationship with the duke, and Georges later said

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Another critic said that it had been years since he heard such laughter in a Paris theatre – "I could return to it again and again with pleasure". He predicted that the piece "will have an interminable run", and it ran far into the following year for a total of 434 performances. An English version

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wrote, "I continue to deplore the fact that M. Georges Feydeau uses his truly remarkable talent on plays that will be performed four or five hundred times but that will never be read". For some, his late one-act plays are misogynistic; for others, they were his finest achievements, comparable with

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so that Ernest, whose health was failing, could take the cure. Soon after their return to Paris in October 1871 the nine-year-old Feydeau, who had so far received only private tuition, was sent to a boarding school. As a pupil he was generally indolent, but devoted time and energy to organising an

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The plays of Feydeau are marked by closely observed characters, with whom his audiences could identify, plunged into fast-moving comic plots of mistaken identity, attempted adultery, split-second timing and a precariously happy ending. After the great success they enjoyed in his lifetime they were

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At the Hôtel Coq d'Or, where "only married couples come" but "not at the same time" a front bedroom has a bed next to a wall. If a couple making use of it are about to be intruded upon (by e.g. an outraged husband) the press of a button has the wall, and the bed and occupants with it, revolving

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A typical plot establishes in Act I the need for secrecy on which the subterfuge and duplicity of the leading characters will depend; in Act II we move to a public meeting place – most notoriously a hotel of not very savoury reputation … Act III restores things to a somewhat precarious status

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M. Georges Feydeau has a spirit, a devil in him which it is impossible to resist. With him, you have to laugh, laugh again, laugh always. We are not deprived of that here. Even those who are not keen on vaudeville or that kind of theatre cannot escape from the contagion. What can one do when

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comments that it was not a representative audience, being composed of friends of society members, but it was nonetheless a test of a sort, and the play was enthusiastically received. The typical Feydeau characters and plot were already in evidence: a shy husband, a domineering wife, mistaken

876:, and, in the words of the writer Peter Meyer, "the vaudeville itself ... akin to what we would call slapstick farce, where movement was more important than character". Reviewers in the French press in Feydeau's time used both terms –"vaudeville" and "farce" – to label his plays. 868:. He did not use that term for any of his works: he called them vaudevilles or comédies. The vaudeville, a genre that originated in the middle ages as a satirical song, evolved into a play in verse with music, and by Feydeau's time had split into two branches: 73:

Feydeau was born in Paris to middle-class parents and raised in an artistic and literary environment. From an early age he was fascinated by the theatre, and as a child he wrote plays and organised his schoolfellows into a drama group. In his teens he wrote

782:. He lived there, surrounded by his paintings and books, until 1919. He and Marie-Anne were divorced in 1916 and in 1918, now aged fifty-five, he embarked on an affair with a young dancer, Odette Darthys, whom he cast in the lead in revivals of his plays. 417:

It doesn't look like anything and it looks like everything. It's made of everything, and it's made of nothing. And it is comic, it is funny! I laughed at it from ten o'clock to midnight. I laughed about it throughout the journey from the theatre to

580:. At the same time, after a certain amount of similar manoeuvring on his own account, Feydeau was appointed to the legion, at the early age of thirty-two, joining a small élite of French playwrights to receive the honour, including Dumas, Meilhac, 113:. With his technique honed, and sometimes in collaboration with a co-author, he wrote seventeen full-length plays between 1892 and 1914, many of which have become staples of the theatrical repertoire in France and abroad. They include 254:

Zelewska (1838–1924) known as "Léocadie". When she married Ernest Feydeau in 1861, he was a forty-year-old childless widower and she was twenty-two. She was a famous beauty, and rumours spread that she was the mistress of the

282:, and Feydeau grew up in a literary and artistic environment. After being taken to the theatre at the age of six or seven he was so enthusiastic that he started to write a play of his own. His father, impressed, told the family's 924:

The critic W. D. Howarth sums up Feydeau's typical dramatic template as "a nightmare sequence of events in otherwise unremarkable lives". In general the vaudeville or farcical events are confined to the second of three acts:

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After his death Feydeau's plays were neglected for many years. It was not until the 1940s that major revivals were staged in Paris, after which Feydeau gradually became a staple of the repertory in France and abroad. The

691:(A flea in her ear) (1907) won glowing reviews, and seemed set to become one of the author's biggest box-office successes, but after 86 performances a leading member of the cast, the much loved comic actor 1933: 638:(literally "Turkey" but in French usage signifying "Dupe" or "Fall guy") ran for 275 performances at the Palais-Royale in 1896–97, and at the end of the decade Feydeau had the best run of his career with 1954: 2212:

in 1956, playing in the original French and gaining enthusiastic reviews from the New York and London critics. In the meanwhile the Comédie-Française staged its first full-length Feydeau production,

101:), was well received, but was followed by a string of comparative failures. He gave up writing for a time in the early 1890s and studied the methods of earlier masters of French comedy, particularly 806:

it has signs that "the dramatist had almost reached the end of his brilliant inventiveness". From 1908 Feydeau focused chiefly on a series of one-act plays, which he envisaged as a set to be called

904:(The bud) is a comedy of manners with serious moments. The latter had a respectable run of 92 performances, but Feydeau's greatest successes were in farce. He said that he made so much money from 516:(another collaboration with Desvallières) as too unbelievable for an audience to accept. After receiving this news from the Palais-Royal, Feydeau met an old friend, Henri Micheau, the owner of the 366:. It depicts the confusion arising when a young lady receives a young gentleman who she thinks is her new piano teacher; he has come to the wrong house and believes he is calling on a glamorous 290:, one of the leading dramatists in Paris, and showed him his latest effort. He recalled Meilhac as saying, "My boy, your play is stupid, but it is theatrical. You will be a man of the theatre". 943:

Howarth observes that "The nightmare quality of Feydeau's middle acts" depends not only on "frenzied comings and goings", but also on mechanical stage accessories such as the revolving bed in

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that he could afford to take two years' break from writing and devote himself instead to his hobby, painting. That play remains a favourite with French audiences; in English-speaking countries

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The first run, at the Nouveautés, like that of some other long-running Feydeau pieces, was not continuous, but had a break in mid-run before resuming for its total tally of performances.

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amateur dramatic group and performing. In October 1873 Ernest died and in 1876 Léocadie remarried. Her second husband, nearer her own age than Ernest, was a prominent liberal journalist,

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Feydeau had long been subject to depression, but in mid-1919 his family, alarmed at signs of a severe deterioration in his mental condition, called in medical experts; the diagnosis was

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In one of his lucid moments Feydeau complained that he was incarcerated for saying he was Napoleon III, but that another patient supposed himself to be President of France: the patient

1471: 644:, which played at the Nouveautés from January 1899 to November 1900, a total of 579 performances. The author was used to working with and writing for established farceurs such as 2822: 5562: 3746: 322:(The rebellious young lady), a humorous monologue in verse, of about seven minutes' duration, which attracted favourable attention and was taken up by the publisher Ollendorff. 1782: 197:

Feydeau's personal life was marred by depression, unsuccessful gambling and divorce. In 1919 his mental condition deteriorated sharply and he spent his final two years in a

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admitted to adding "a collection of verbal jokes" in his Feydeau translations, but only in the first acts: in the second acts, he said, the action was all-important.

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to let the boy off tuition that day. Feydeau later said that laziness made him a playwright, once he found he could escape lessons by writing plays. He sought out

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Literally "The hand passes", as in card games, where play moves from player to player, variously rendered in English versions as "Your Deal" and "Chemin de Fer".

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Between 1878 and 1916 Feydeau completed twenty full-length and nineteen one-act plays. Eleven of them were written with a co-author, and not all were farcical;

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and Meilhac. He benefited from his study, and in 1891 wrote two plays that restored his reputation and fortune. He submitted them both to the management of the

1903: 1852: 1048: 399:(1885), later recognised as one of the masterpieces of French naturalist theatre. In December 1886 the Renaissance presented a three-act comédie by Feydeau, 80: 4391: 1867: 437:

correctly predicted that the young author would struggle to repeat this early triumph: it was not until 1892 that Feydeau had another success to match

4543: 4718: 1767: 1504: 318:, and was engaged as a clerk in a law firm. Still stage-struck, he began writing again. Comic monologues were fashionable in society, and he wrote 5261: 517: 1938: 5669: 2501: 1959: 802:(I don't cheat on my husband, 1914) with René Peter did well at the box office, with 200 performances, but in the view of Feydeau's biographer 743:, and destined, like her, to attract legions of spectators to the Nouveautés … laughing out loud, as we did without constraint and shamelessly. 4528: 4439: 3810: 4422: 2337:

During the last two decades of the twentieth century interest in Feydeau continued. The Comédie-Française presented four more of his plays:

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Bad Homburg was under Prussian rule, but Ernest received permission from the Parisian authorities to go there for the sake of his health.

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Respectively the titles translate into English as The high school girl, A pig in a poke, The betrothed of Loches and The Edouard affair.

3845: 3731: 2819: 1303: 3743: 5853: 5848: 5569: 1454: 4511: 4492: 4473: 4454: 3539: 1923: 3404: 5843: 2365:. There were numerous Feydeau revivals in theatres in Paris, cities across France, and Brussels, including seven productions of 565:(The Ribadier System, 1892), had a fair run in Paris and was successfully produced in Berlin, and subsequently (under the title 5726: 4738: 3563: 520:, who insisted on seeing the rejected script and immediately recognised it as a potential winner. Meyer writes, "He was right. 5270: 5246: 5227: 5054: 5033: 5014: 4995: 4976: 4957: 4914: 4895: 4876: 4857: 4819: 4800: 4779: 2507:

twenty have been made, in several countries and languages. At least fourteen of his plays have been adapted for television.

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commented that only the visual action was funny. His attempt to inject some wit was regarded by some critics as misguided.

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identities, confusion and a happy ending. The first professional presentation of a Feydeau play was in January 1883, when

2216:(1951). English adaptations had been familiar in Feydeau's day, and in the 1950s new versions began to appear, including 492:

In 1890 Feydeau took a break from writing and made a study of the works of the leading comic playwrights, particularly

236:, and consequently sold in large numbers and had to be reprinted; Ernest dedicated the new edition to the archbishop. 3138: 1678: 2162: 1338: 612: 116: 2762:

Variously rendered in English adaptations as "Cat Among the Pigeons", "Not by Bed Alone" and "Get Out of My Hair".

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Feydeau sank into a coma and died in the sanatorium at Rueil on 5 June 1921, aged fifty-eight. After a funeral at

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The mighty, yes the mighty, vaudevillist who is M. Georges Feydeau! Ah, the hilarious farce, first cousin of the

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Gidel, p. 89; and Noël and Stoullig (1888), p. 390 (1889), pp. 282 and 305, (1890), p. 165, and (1891), p. 356

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horizontally 180 degrees into the back room, thereby bringing whoever is in the bed there into the front room.

825:. The condition was incurable, and Feydeau's sons arranged for him to be admitted to a leading sanatorium at 778:

In 1909, after a particularly acrimonious quarrel, Feydeau left home and moved into the Hotel Terminus in the

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During the first two decades of the 21st century, the Comédie-Française presented seven Feydeau productions:

2294:) in the West End (1969). In the 1970s the Comédie-Française added two more Feydeau plays to its repertoire: 363: 5633: 4540: 2266:(1961) for the Comédie-Française, which the company took to London in 1964. This led to an invitation from 1418: 640: 501: 133: 2476:

records no Feydeau productions in the 21st century. Among British productions were Frei's 2003 version of

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admitted a Feydeau work to its repertoire for the first time in 1941, with a production of the one-act

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in their naturalism; Feydeau was seen here as a moralist as well as an entertainer. For the authors of

5649: 4790: 4218:, 26 November 1952, p. 15C; and Sheaffer, Louis. "French Actors Still Superb in Rowdy Bedroom Farce", 1615: 713: 703: 168: 5694: 3547: 798: 5217: 4847: 218:

Feydeau was born at his parents' house in the Rue de Clichy, Paris, on 8 December 1862. His father,

5774: 5718: 5555: 3284: 814:("Hortense says 'I don't give a damn'", 1916) "astringently funny … Feydeau's last dazzling gasp". 625:, was staged in New York in September 1895, and ran for nearly 150 performances; a London version, 31: 5858: 5601: 3807: 1246: 837: 512: 314:(1838–1901), with whom Feydeau got on well. In 1879 Feydeau completed his formal education at the 4419: 1857: 17: 4682: 2710:

A run of more than 100 performances was regarded as a "hit" in the Parisian theatre of the time.

1161: 1123: 897: 470: 5179: 4300: 2283: 2173: 1053: 681:, was not a success, closing after 16 performances. Of his first four plays of the 1900s, only 191: 85: 5792: 5758: 5609: 4663: 4644: 4625: 4606: 4587: 4568: 4256: 4191: 4172: 3103: 3047: 1273: 609:

for 45 performances. Feydeau and Desvallières returned to winning form in the same year with

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Marcoux, J. Paul (1988). "Georges Feydeau and the 'serious' farce". In James Redmond (ed.).

2156: 228: 5823: 5818: 2362: 2342: 2193: 747: 629:, opened in April 1896 and outran the Parisian original, with a total of 531 performances. 367: 276: 5617: 1872: 1366: 315: 272: 8: 5710: 5686: 5490: 4508: 4489: 4470: 4451: 3536: 3224: 2600: 2303: 2201: 841: 793: 758: 294: 222:(1821–1873), was a financier and a moderately well-known writer, whose first novel 187: 4407: 879: 632:

During the rest of the 1890s there were two more Feydeau plays, both highly successful.

5702: 4310:, Internet Broadway Database. Retrieved 28 July 2020; and Mander and Mitchenson, p. 469 3893: 3401: 2612:

Appointed as chevalier of the Legion in 1895, Feydeau was promoted to officier in 1912.

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his farces were what made Feydeau incomparable. Later critics including Gidel, Pronko,

695:, died suddenly and the play was withdrawn; it was not seen again in Paris until 1952. 677:. A collaboration in 1902 with the composer Alfred Kaiser on a serious romantic opera, 3777:

Noël and Stoullig (1896), p. 255 ("vaudeville"); and (1897), pp. 241 and 244 ("farce")

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led a revival of interest in his works, at first in Paris and subsequently worldwide.

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Mon fils, ta pièce est stupide, mais elle est scénique. Tu seras un homme de théâtre.

1772: 1589: 1295: 960: 884: 873: 687: 645: 152: 39: 955: 722: 581: 493: 205:(now Rueil-Malmaison), near Paris. He died there in 1921 at the age of fifty-eight. 102: 5593: 5518: 2646: 2638: 2267: 2236: 2209: 2205: 2185: 1509: 1220: 779: 771: 585: 577: 559:

opened in London in September 1893 and ran for three months. Feydeau's next play,

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said that the piece was not a comedy at all in the conventional sense of the word:

298: 268: 106: 5357: 5198: 5103: 5044: 829:(now Rueil-Malmaison). He spent his last two years there, imagining himself to be 717:(Look after Amélie) opened at the Nouveautés. The reviewers were enthusiastic; in 698: 576:(The ribbon), a comedy about a man desperately manoeuvring for appointment to the 5160: 4767: 4745: 4722: 4689: 4670: 4651: 4632: 4613: 4594: 4575: 4547: 4515: 4496: 4477: 4458: 4426: 4395: 4326: 4307: 4263: 4198: 4179: 3814: 3750: 3543: 3408: 2826: 2217: 1101: 857: 763: 661: 454: 379:

After completing his compulsory military service (1883–84) Feydeau was appointed

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The piece ran for 288 performances at the Nouveautés during 1908–09, and at the

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ran from March to November and then continued its run In December and January.

2231: 5812: 5797: 5500: 5481: 5462: 5443: 5424: 5405: 5386: 5367: 5348: 5329: 5310: 5291: 5259:; Laura Kuhn; Dennis McIntire (2001). "Kaiser, Alfred". In Laura Kuhn (ed.). 5208: 5189: 5170: 5151: 5132: 5113: 5094: 5075: 4240: 2727: 2658:

Alfred Kaiser (1872–1917) was a Belgian, later British, composer, a pupil of

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Some sources include the hyphens in Feydeau's given names; others omit them.

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The Feydeaus had a second child, a daughter, Diane-Valentine, born in 1866.

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was a triumph". When the play opened in November 1892 one critic wrote of:

425: 392: 330: 260: 4933: 4214:, 25 November 1952, p. 35; Chapman, John. "French Players Turn to Farce", 2389:), which was later played on Broadway. Other English adaptations included 2330:). In London the National Theatre presented a second Mortimer adaptation, 186:

neglected after his death, until the 1940s and 1950s, when productions by

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According to Jacques Lorcey in his 1972 study of Feydeau, the failure of

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The four children were Germaine (1890–1941), who married the playwright

869: 531: 5538: 3817:, Opérette – Théâtre Musical. Retrieved 29 July 2020; and Esteban, p. 7 853: 446: 342: 232:

and earned him some notoriety. It was condemned from the pulpit by the

198: 143: 980: 5625: 4375:, 21 January 1966; and "M. Charon on the Feydeau Behind the Farces", 4210:

Matthews, Herbert L. "French Farce Acted by Renaud-Barrault Troupe",

1392: 864:, but his reputation rests on those of his plays known in English as 634: 372: 301:. They returned briefly to Paris in March 1871 and then moved to the 283: 2381:. In London the National Theatre presented Mortimer's adaptation of 2200:

since Feydeau's 1908 original, with the company she co-founded with

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and moved on to writing longer plays. His first full-length comedy,

5527: 2753:(roughly "What the eye doesn't see the heart doesn't grieve over"). 822: 818: 664:, whom he moulded into his ideal leading lady for his later works. 5547: 5523: 441:. He had a series of poor or mediocre runs in the late 1880s with 833:

appointing ministers and issuing invitations to his coronation.

810:(From marriage to divorce). Pronko describes the last of these, 673:

problem. Feydeau never regained the success he had enjoyed with

353:, an amateur society, in June 1882. In his biography of Feydeau 62:; 8 December 1862 – 5 June 1921) was a French playwright of the 4867:

Hacht, Anne Marie; Dwayne D. Hayes (2009). "Feydeau, Georges".

2595:; Jacques (1892–1970); Michel (1900–1961), father of the actor 391:. In that capacity he successfully pressed for the premiere of 2621:

Feydeau's art collection included, at various times, works by

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called it "a very witty fantasy, very agreeably interpreted".

865: 826: 202: 67: 4235:, 17 November 1956, p. 2; Tynan, Kenneth. "At the Theatre", 2779:, which was complete, but remained unstaged and unpublished. 264:

that people could think Morny his father if they wanted to.

4833:(fourteenth ed.). London: Sir Isaac Pitman and Sons. 1950:(comédie, "We're going to play cocotte", unfinished, 1911) 1823:(comédie, "She's a society lady"; with Desvallières, 1890) 979:

have judged that in his farces Feydeau was second only to

3756:, Oxford University Press, 2015. Retrieved 1 August 2020 3738:, Oxford University Press, 2003. Retrieved 1 August 2020 2833:, Oxford University Press, 2010. Retrieved 28 July 2020 302: 4333:, French Embassy to the United States, Spring 1965, p. 2 3852:, Oxford University Press, 1995. Retrieved 30 July 2020 3835:

Pronko (1975), pp. 1 and 13; and Hacht and Hayes, p. 591

2286:(1966). Charon followed this with Mortimer's version of 788:

was the last full-length play Feydeau wrote on his own.

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The first of Feydeau's plays to be staged was a one-act

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Contemporary opinions of Feydeau covered a wide range.

4971:. Cambridge and New York: Cambridge University Press. 3721:, 31 December 1887, p. 7; and Gidel, pp. 86–87 and 193 1965:(comédie, "Hortense says 'I don't give a damn'", 1916) 4869:

Gale Contextual Encyclopedia of World Literature, D–J

3287:, Internet Broadway Database. Retrieved 2 August 2020 2432:– a quadruple bill of one-act plays and a monologue ( 1884:(pochade, "Monsieur Nounou"; with Desvallières, 1900) 429:

Marie-Anne Carolus-Duran, who married Feydeau in 1889

4692:, Internet Broadway Database. Retrieved 28 July 2020 4550:, Internet Broadway Database. Retrieved 28 July 2020 4429:, Internet Broadway Database. Retrieved 28 July 2020 4410:, Internet Broadway Database. Retrieved 28 July 2020 4398:, Internet Broadway Database. Retrieved 28 July 2020 3981:

Noël and Stoullig (1888), p. 390; and (1889), p. 282

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In 1889 Feydeau married Marie-Anne, the daughter of

4673:, Les Archives du spectacle. Retrieved 28 July 2020 4654:, Les Archives du spectacle. Retrieved 28 July 2020 4635:, Les Archives du spectacle. Retrieved 28 July 2020 4616:, Les Archives du spectacle. Retrieved 28 July 2020 4597:, Les Archives du spectacle. Retrieved 28 July 2020 4578:, Les Archives du spectacle. Retrieved 28 July 2020 4518:, Les Archives du spectacle. Retrieved 28 July 2020 4499:, Les Archives du spectacle. Retrieved 28 July 2020 4480:, Les Archives du spectacle. Retrieved 28 July 2020 4461:, Les Archives du spectacle. Retrieved 28 July 2020 4266:, Les Archives du spectacle. Retrieved 28 July 2020 4201:, Les Archives du spectacle. Retrieved 28 July 2020 4182:, Les Archives du spectacle. Retrieved 28 July 2020 3972:

Noël and Stoullig (1887), p. 376 and (1888), p. 354

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Noël and Stoullig (1895), p. 363 and (1896), p. 260

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Noël and Stoullig (1893), p. 278 and (1894), p. 410

2244:); both were seen in the West End and on Broadway. 4531:, National Theatre Archive. Retrieved 28 July 2020 4442:, National Theatre Archive. Retrieved 28 July 2020 3891:"Coward Play in London; 'Look After Lulu' Opens", 3736:The Oxford Encyclopedia of Theatre and Performance 2196:in 1948 Renaud starred in the first production of 572:In 1894 Feydeau collaborated with Desvallières on 4046:"Georges Feydeau: note sur deux énigmes résolues" 2254:, a leading Feydeau director of the 1950s and 60s 729:surrounded by such unleashed madness and delight? 5810: 3850:The New Oxford Companion to Literature in French 2510: 4371:Mortimer, p. 103; "French Producer for Farce", 2749:The play was revived in 1909 with a new title: 2127:("A gentleman who is condemned to death", 1899) 1944:(comédie, "Don't walk about stark naked", 1911) 43:Feydeau in 1899, painted by his father-in-law, 5839:20th-century French dramatists and playwrights 5834:19th-century French dramatists and playwrights 4341: 4339: 2502:Screen adaptations of plays by Georges Feydeau 2488:, revived at the Old Vic in 2010, directed by 30:"Feydeau" redirects here. For other uses, see 5563: 5492:Les Annales du théâtre et de la musique, 1914 5473:Les Annales du théâtre et de la musique, 1910 5454:Les Annales du théâtre et de la musique, 1909 5435:Les Annales du théâtre et de la musique, 1908 5416:Les Annales du théâtre et de la musique, 1907 5397:Les Annales du théâtre et de la musique, 1906 5378:Les Annales du théâtre et de la musique, 1905 5359:Les Annales du théâtre et de la musique, 1904 5340:Les Annales du théâtre et de la musique, 1903 5321:Les Annales du théâtre et de la musique, 1902 5302:Les Annales du théâtre et de la musique, 1899 5283:Les Annales du théâtre et de la musique, 1896 5200:Les Annales du théâtre et de la musique, 1895 5181:Les Annales du théâtre et de la musique, 1894 5162:Les Annales du théâtre et de la musique, 1893 5143:Les Annales du théâtre et de la musique, 1892 5124:Les Annales du théâtre et de la musique, 1890 5105:Les Annales du théâtre et de la musique, 1889 5086:Les Annales du théâtre et de la musique, 1887 5067:Les Annales du théâtre et de la musique, 1886 3730:Marcoux (1988), pp. 131–132; Bermel, Albert. 2045:("A gentleman who dislikes monologues", 1882) 1541:comédie musicale en 3 actes et neuf tableaux 1027:pièce historique en deux actes et 3 tableaux 5262:Baker's Biographical Dictionary of Musicians 3794: 3792: 2719:When preparing the first English version of 2258:The 1960s saw two celebrated productions by 2225: 2160: 1336: 1108: 1042:Juvenilia: not staged in Feydeau's lifetime 993:List of full-length works by Georges Feydeau 610: 458: 114: 4336: 3442:Gidel, pp. 110; and Stoullig (1911), p. 396 3253:, 11 September 1893, p. 6; and "Theatres", 1805:(comédie enfantine, "Unripe fiancés", 1886) 939:(I Don't Cheat on My Husband), 1920 revival 856:, and provided librettos for the composers 5570: 5556: 4109:Stoullig (1903), p. 351 and (1904), p. 386 3594:Stoullig (1909), p. 392 and (1910), p. 370 3433:Stoullig (1900), p. 275 and (1901), p. 283 3424:Stoullig (1897), p. 248 and (1898), p. 318 2990:, Internet Archive. Retrieved 31 July 2020 1929:(comédie, "Léonie is ahead of time", 1911) 1899:(vaudeville, "Madame's late mother", 1908) 1848:(comédie, "Save me from my friends", 1896) 4274: 4272: 4100:Stoullig (1900), p. 280 and (1901) p. 285 3918:Feydeau and Mortimer, pp. 31–32 and 40–41 3897:, 30 July 1959, p. 20; and Lesley, p. 388 3789: 2662:. He composed two more operas after this. 2438:Un monsieur qui n'aime pas les monologues 2043:Un monsieur qui n'aime pas les monologues 896:(The ribbon, 1894, in collaboration with 4810:Feydeau, Georges; John Mortimer (1968). 4050:Revue d'Histoire littéraire de la France 3932: 3930: 3928: 3926: 3924: 3558: 3556: 3236: 3234: 3196: 3194: 3192: 3190: 3145:, 31 March 2020. Retrieved 2 August 2020 2831:The Companion to Theatre and Performance 2306:. In New York there were productions of 2246: 2155: 1811:(comédie, "Two cocks for one hen", 1887) 931: 878: 757: 697: 648:, who starred in many of his plays from 590: 530: 424: 329: 238: 38: 5265:(eighth ed.). New York: Schirmer. 5064:Noël, Edouard; Edmond Stoullig (1887). 3905: 3903: 3838: 3754:The Oxford Dictionary of Literary Terms 3677: 3675: 3665: 3663: 3590: 3588: 3578: 3576: 3514: 3512: 3493: 3491: 3366: 3364: 3071: 3069: 1982: 1799:(comédie-bouffe, "The straw man", 1884) 965:Les Annales du théâtre et de la musique 734:Les Annales du théâtre et de la musique 406:Les Annales du théâtre et de la musique 250:Feydeau's mother was Lodzia Bogaslawa, 14: 5811: 5026:George Feydeau: Three Boulevard Farces 4269: 3016: 3014: 2946: 2944: 2942: 2940: 1863:(vaudeville, "Sleep, I insist!", 1897) 1817:(vaudeville, "A household bath", 1888) 1793:(comédie-bouffe, "Gallows-bird", 1883) 1645:comédie en 3 actes et quatre tableaux 349:(Through the window) presented by the 5551: 5005:Meyer, Peter (2003). "Introduction". 4748:, BBC Genome. Retrieved 30 April 2022 3921: 3873:Pronko (1975), p. 41; and Meyer p. 10 3612:Stoullig (1909), pp. 384, 389 and 392 3553: 3450: 3448: 3415:, 9e édition. Retrieved 3 August 2020 3345:Noël and Stoullig (1895), pp. 361–362 3231: 3187: 3171: 3169: 3096: 3084:Pronko (1975), p. 1; and Gidel, p. 74 2858: 2856: 2854: 2844: 2842: 2296:Mais n'te promène donc pas toute nue! 2115:("Everything to Brown-Séquard", 1890) 2007: 1934:Mais n'te promène donc pas toute nue! 1763:(comédie, "Through the window", 1882) 852:Feydeau wrote more than twenty comic 387:, under the management of his friend 57: 4928:(in French). Paris: La Table ronde. 4358:"Superb Acting in a Feydeau Farce", 3963:Gidel, p. 276; Pronko (1975), p. 140 3900: 3672: 3660: 3585: 3573: 3509: 3488: 3413:Dictionnaire de l'Académie française 3361: 3066: 2815: 2813: 2811: 2809: 2807: 2805: 2133:("The poor owner's complaint", 1916) 2012: 1757:(drame, "Love must be silent", 1878) 1748: 986: 504:. They agreed to stage one of them, 5577: 4952:(second ed.). London: Oberon. 4890:(second ed.). London: Oberon. 4772:The Noël Coward Diaries (1941–1969) 4052:, January–February 1980, pp. 90–93 3011: 2937: 2820:"Feydeau, Georges-Léon-Jules-Marie" 2452:(monologues, 2012, Alain Françon), 2125:Un monsieur qui est condamné à mort 983:as France's great comic dramatist. 750:for 96 performances later in 1909. 619:Annales du théâtre et de la musique 422:. And I am still laughing about it. 24: 5239:Eugene Labiche and Georges Feydeau 4607:"Quatre pièces de Georges Feydeau" 3445: 3166: 2851: 2839: 2775:caused the playwright to suppress 2484:) directed by Hall and Mortimer's 1737:not staged in Feydeau's lifetime. 1496:The duchess of the Folies-Bergère 297:in 1870 the family left Paris for 208: 25: 5870: 5515:Works by or about Georges Feydeau 5508: 2802: 2349:(1985) directed by Stuart Seide, 1778:(comédie, "Love and piano", 1883) 1743: 915: 70:, written between 1886 and 1914. 5854:20th-century French male writers 5849:19th-century French male writers 5531: 4986:— (1994). "Introduction". 4852:(in French). Paris: Flammarion. 4732: 4708: 4695: 4676: 4657: 4638: 4619: 4600: 4581: 4562: 4553: 4534: 4521: 4502: 4483: 4464: 4445: 4432: 4413: 4401: 4382: 4365: 4352: 4313: 4294: 4281: 4250: 4225: 4204: 4185: 4166: 4157: 4148: 4139: 4130: 4121: 4112: 4103: 4094: 4085: 4076: 4073:Noël and Stoullig (1895), p. 335 4067: 4064:Noël and Stoullig (1895), p. 224 4058: 4038: 4029: 4026:Noël and Stoullig (1893), p. 234 4020: 4017:Noël and Stoullig (1891), p. 356 4011: 4008:Noël and Stoullig (1890), p. 165 4002: 3999:Noël and Stoullig (1889), p. 305 3993: 3984: 3975: 3966: 3957: 3948: 3939: 3912: 3885: 3876: 3867: 3858: 3829: 3820: 3801: 3336:Noël and Stoullig (1895), p. 224 3305:Gidel, p. 126; and Esteban, p. 8 3093:Noël and Stoullig (1887), p. 373 2765: 2756: 2743: 2733: 2713: 2704: 2131:Complainte du pauv' propriétaire 1878:(comédie, "Night session", 1897) 243:Feydeau's parents, Léocadie and 51:Georges-Léon-Jules-Marie Feydeau 4389:"There's One in Every Marriage" 4239:, 18 November 1956, p. 13; and 3780: 3771: 3762: 3724: 3711: 3702: 3693: 3684: 3651: 3642: 3633: 3624: 3615: 3606: 3597: 3530: 3521: 3500: 3475: 3466: 3457: 3436: 3427: 3418: 3395: 3386: 3373: 3348: 3339: 3330: 3321: 3308: 3299: 3290: 3273: 3260: 3243: 3216: 3203: 3178: 3157: 3148: 3131: 3122: 3113: 3087: 3078: 3057: 3041: 3032: 3023: 3002: 2993: 2980: 2971: 2962: 2953: 2928: 2919: 2910: 2901: 2898:Gidel, p. 22; and Esteban, p. 2 2889:Nahmias, p. 8; and Gidel, p. 23 2687: 2674: 2665: 2652: 2615: 2606: 2585: 2576: 2567: 2558: 2555:"Morny? Soit! Si vous y tenez." 2549: 2540: 2531: 2204:. They took the production to 1955:Hortense a dit: "je m'en fous!" 1914:(comédie, "Purging baby", 1910) 1085:vaudeville-opérette en 3 actes 812:Hortense a dit: "je m'en fous!" 766:as witnesses at the wedding of 685:(1904) had a substantial run. 617:(The Free Exchange Hotel). The 5844:Burials at Montmartre Cemetery 5049:(in French). Paris: Grancher. 4950:Theatrical Companion to Coward 4888:Making an Exhibition of Myself 2977:Gidel, p. 54 and Esteban, p. 4 2892: 2883: 2874: 2865: 2793: 2522: 2495: 2103:("The man of integrity", 1886) 1472:La Duchesse des Folies-Bergère 510:, but turned down the second, 213: 13: 1: 4331:French News: Theatre and arts 4278:Mander and Mitchenson, p. 475 3283:, 28 October 1896, p. 4; and 3139:"Carolus-Duran est grandpère" 2786: 2603:(1903–1970), a film director. 2511:Notes, references and sources 2393:and Nicki Frei's versions of 2312:There's One in Every Marriage 2057:("The small household", 1883) 1991:("The rebellious girl", 1880) 1977: 1829:(comédie, "Our future", 1894) 1569:comédie de moeurs en 3 actes 753: 27:French playwright (1862–1921) 4716:"A Flea in Her Ear – review" 4626:"Le Cercle des castagnettes" 4541:"A Little Hotel on the Side" 4529:"A Little Hotel on the Side" 4243:"The World of the Theatre", 3354:"L'Hôtel du libre échange", 2027:("I've got toothache", 1882) 1686:I don't cheat on my husband 1556:with Desvallières; music by 762:Left to right, Feydeau with 667: 7: 5530:(public domain audiobooks) 3639:Gidel, pp. 253, 263 and 268 3104:"Premières Représentations" 2113:Tout à Brown-Séquard ! 1264:Champignol despite himself 792:(The road race, 1909) with 334:Poster for 1887 revival of 10: 5875: 5658:Je ne trompe pas mon mari! 4755: 4645:"L'Hôtel du libre-échange" 3954:Pronko (1982), pp. 146−147 3184:Pronko (1982), pp. 103–104 2499: 2474:Internet Broadway Database 2450:Le Cercle des castagnettes 2448:, 2009, Gian Manuel Rau), 2387:A Little Hotel on the Side 2021:("The handkerchief", 1881) 1667:Je ne trompe pas mon mari! 569:) in London and New York. 293:After the outbreak of the 29: 5785: 5695:The Queen of Moulin Rouge 5668: 5585: 5280:Stoullig, Edmond (1897). 5197:—; — (1896). 5178:—; — (1895). 5159:—; — (1894). 5140:—; — (1893). 5121:—; — (1891). 5102:—; — (1890). 5083:—; — (1888). 4829:Gaye, Freda, ed. (1967). 4814:. London: Samuel French. 4287:"Winter Garden Theatre", 4247:, 1 December 1956, p. 942 4044:Shapiro, Norman Richard. 3550:. Retrieved 4 August 2020 3548:Les Archives du spectacle 3407:25 September 2020 at the 3383:, 29 December 1895, p. 12 3222:"Champignol malgré lui", 2697:the President of France, 2302:(1978), both directed by 2151: 2097:("The Thrifty man", 1886) 1695:Cent millions qui tombent 1039:The wild rose of Amboise 1016: 1013: 1010: 1007: 1004: 1001: 998: 937:Je ne trompe pas mon mari 912:became the most popular. 888:(A Flea in Her Ear), 1907 799:Je ne trompe pas mon mari 385:Théâtre de la Renaissance 5524:Works by Georges Feydeau 5216:Pronko, Leonard (1975). 5046:Tout l'humour de Feydeau 5043:Nahmias, Robert (1995). 4924:Lorcey, Jacques (1972). 4831:Who's Who in the Theatre 4789:Esteban, Manuel (1983). 4546:29 February 2020 at the 4379:, 3 February 1966, p. 18 4349:, 16 October 1975, p. 16 4306:13 November 2020 at the 4222:, 25 November 1952, p. 4 3358:, 8 December 1894, p. 11 3270:, 18 November 1893, p. 8 3228:, 12 November 1892, p. 9 3175:Hacht and Haynes, p. 151 3154:Gidel, pp. 97–98 and 242 3110:, 18 December 1886, p. 2 2515: 2462:L'Hôtel du libre-échange 2383:L'Hôtel du libre-échange 2227:L'Hôtel du libre échange 2163:L'Hôtel du libre échange 2063:("The 1,000 note", 1884) 2051:("Paw in the air", 1883) 1821:C'est une femme du monde 1809:Deux coqs pour une poule 1517:comédie en quatre actes 1339:L'Hôtel du libre échange 1157:The fiancés from Loches 847: 613:L'Hôtel du libre échange 487: 325: 117:L'Hôtel du libre échange 66:era, remembered for his 32:Feydeau (disambiguation) 5727:La dame de chez Maxim's 5679:La dama de Chez Maxim's 5024:Mortimer, John (1985). 4907:The Life of Noël Coward 4688:3 December 2020 at the 4490:"La Dame de chez Maxim" 4440:"The Lady from Maxim's" 4245:Illustrated London News 4173:"Feu la mère de Madame" 4154:Stoullig (1915), p. 386 4145:Stoullig (1910), p. 220 4136:Stoullig (1908), p. 418 4127:Stoullig (1907), p. 202 4118:Stoullig (1906), p. 230 4091:Stoullig (1897), p. 248 4054:(subscription required) 3854:(subscription required) 3758:(subscription required) 3740:(subscription required) 3603:Stoullig (1910), p. 292 3582:Stoullig (1909), p. 385 3518:Stoullig (1905), p. 340 3497:Stoullig (1903), p. 307 3318:, 5 January 1895, p. 10 3266:"The Drama in Berlin", 3213:, 7 November 1892, p. 5 3054:, 29 January 1883, p. 3 3048:"Courrier des Théâtres" 2835:(subscription required) 2472:(2019, Lilo Baur). The 2091:("The reformers", 1885) 2075:("The volunteer", 1884) 2033:("The schoolboy", 1882) 1465:music by Alfred Kaiser 840:, he was buried in the 736:Edmond Stoullig wrote: 502:Théâtre du Palais-Royal 351:Cercle des arts intimes 267:Ernest was a friend of 126:The Free Exchange Hotel 5203:. Paris: Charpentier. 5184:. Paris: Charpentier. 5165:. Paris: Charpentier. 5146:. Paris: Charpentier. 5127:. Paris: Charpentier. 5108:. Paris: Charpentier. 5089:. Paris: Charpentier. 5070:. Paris: Charpentier. 4705:, 24 April 2003, p. 39 4438:Mortimer, p. 201; and 3813:18 August 2020 at the 3742:; and Baldick, Chris. 3717:"The Drama in Paris", 3314:"The Drama in Paris", 2925:Pronko (1975), pp. 6–7 2825:10 August 2020 at the 2255: 2226: 2168: 2161: 2109:("The children", 1887) 1948:On va faire la cocotte 1723:vaudeville en 3 actes 1672:vaudeville en 3 actes 1660:with Francis Croisset 1595:vaudeville en 3 actes 1484:comédie en cinq actes 1444:Le Billet de Joséphine 1436:The lady from Maxim's 1424:vaudeville en 3 actes 1372:vaudeville en 3 actes 1345:vaudeville en 3 actes 1337: 1316:vaudeville en 3 actes 1279:vaudeville en 3 actes 1252:vaudeville en 3 actes 1199:vaudeville en 3 actes 1195:Le Mariage de Barillon 1173:vaudeville en 3 actes 1143:vaudeville en 3 actes 1117:vaudeville en 3 actes 1109: 1002:Feydeau's description 940: 889: 775: 708: 679:Le Billet de Joséphine 611: 599: 548: 518:Théâtre des Nouveautés 469:(1888 co-written with 459: 430: 338: 247: 115: 47: 5743:The Girl from Maxim's 5735:Keep an Eye on Amelia 5719:The Girl from Maxim's 5634:La Dame de chez Maxim 5602:Champignol malgré lui 5495:. Paris: Ollendorff. 5476:. Paris: Ollendorff. 5457:. Paris: Ollendorff. 5438:. Paris: Ollendorff. 5419:. Paris: Ollendorff. 5400:. Paris: Ollendorff. 5381:. Paris: Ollendorff. 5362:. Paris: Ollendorff. 5343:. Paris: Ollendorff. 5324:. Paris: Ollendorff. 5305:. Paris: Ollendorff. 5286:. Paris: Ollendorff. 5241:. London: Macmillan. 4905:Lesley, Cole (1976). 4886:Hall, Peter (2000) . 4846:Gidel, Henry (1991). 4762:Coward, Noël (1982). 4744:30 April 2022 at the 4714:Billington, Michael. 4664:"La Puce à l'oreille" 4527:Mortimer, p. 17; and 4509:"La Puce à l'oreille" 4457:5 August 2020 at the 4452:"Le Système Ribadier" 4425:5 August 2020 at the 4394:12 April 2020 at the 4362:, 23 March 1964, p. 6 4345:"M. Jacques Charon", 4192:"Occupe-toi d'Amélie" 4082:Pronko (1982), p. 103 3945:Marcoux (1994), p. 16 3936:Pronko (1975), p. 104 3657:Pronko (1975), p. 188 3648:Pronko (1975), p. 187 3570:, 16 March 1908, p. 4 3537:"La Puce à l'oreille" 3463:Pronko (1982), p. 102 3075:Pronko (1982), p. 100 2446:Feu la mère de madame 2375:La Dame de chez Maxim 2339:La Dame de chez Maxim 2332:The Lady from Maxim's 2292:Cat Among the Pigeons 2250: 2178:Feu la mère de Madame 2159: 2139:("Madame Sganarelle") 2003:("Poles apart", 1883) 1889:Feu la mère de Madame 1755:L'Amour doit se taire 1419:La Dame de chez Maxim 1247:Champignol malgré lui 1238:Monsieur is hunting! 1139:Les Fiancés de Loches 935: 906:La Dame de chez Maxim 882: 838:Sainte-Trinité, Paris 808:Du mariage au divorce 761: 701: 675:La Dame de chez Maxim 658:La Dame de chez Maxim 650:Champignol malgré lui 641:La Dame de chez Maxim 596:La Dame de chez Maxim 594: 534: 513:Champignol malgré lui 467:Les Fiancés de Loches 428: 333: 242: 134:La Dame de chez Maxim 42: 5650:Occupe-toi d'Amélie! 4721:28 July 2020 at the 4669:26 June 2020 at the 4650:28 June 2020 at the 4631:28 July 2020 at the 4593:29 June 2020 at the 4574:28 July 2020 at the 4514:28 July 2020 at the 4495:28 July 2020 at the 4476:28 July 2020 at the 3630:Pronko (1975), p. 10 3542:28 July 2020 at the 3163:Gidel, pp. 75 and 97 2959:Pronko (1982), p. 99 2721:Occupe-toi d'Amélie! 2482:Where There's a Will 2403:Occupe-toi d'Amélie! 2351:Occupe-toi d'Amélie! 2347:Léonie est en avance 2343:Jean-Paul Roussillon 2270:to Charon to direct 2242:Occupe-toi d'Amélie! 2198:Occupe-toi d'Amélie! 2085:("The parcel", 1885) 2069:("The famous", 1884) 1983:For female performer 1919:Léonie est en avance 1710:100 million falling 1616:Occupe-toi d'Amélie! 1529:The hand goes round 1357:Free Exchange Hotel 1291:The Ribadier system 1162:Maurice Desvallières 898:Maurice Desvallières 860:, Alfred Kaiser and 796:made little impact. 786:Occupe-toi d'Amélie! 714:Occupe-toi d'Amélie! 704:Occupe-toi d'Amélie! 555:of the play, called 471:Maurice Desvallières 364:Théâtre de l'Athénée 259:or even the Emperor 169:Occupe-toi d'Amélie! 5793:Ernest-Aimé Feydeau 5759:Äktenskapsbrottaren 5711:Take Care of Amelie 5687:Take Care of Amelia 5642:La Puce à l'oreille 5610:Le Système Ribadier 5257:Slonimsky, Nicholas 5222:. New York: Ungar. 5028:. London: Penguin. 4774:. London: Methuen. 4612:6 June 2020 at the 4588:"Un fil à la patte" 4420:"13 Rue de l'Amour" 4325:17 May 2022 at the 4262:8 July 2020 at the 4197:2 July 2020 at the 4178:8 July 2020 at the 3749:17 May 2022 at the 3621:Pronko (1975), p. 3 3454:Pronko (1975), p. 2 3257:, 21 November, p. 8 3029:Pronko (1975), p. 1 2988:"La Petite revoltée 2871:Pronko (1975), p. 6 2682:Occupe-toi d'Amélie 2478:Le Système Rebadier 2470:La Puce à l'oreille 2454:Le Système Ribadier 2416:(2002, directed by 2379:La Puce à l'oreille 2367:Le Système Ribadier 2361:(1998) directed by 2353:(1995) directed by 2341:(1981) directed by 2304:Jean-Laurent Cochet 2300:La Puce à l'oreille 2276:La Puce à l'oreille 2202:Jean-Louis Barrault 2121:("The juror", 1898) 1853:Dormez, je le veux! 1838:Les Pavés de l'ours 1621:comédie en 3 actes 1590:La Puce à l'oreille 1462:Josephine's letter 1398:comédie en 3 actes 1274:Le Système Ribadier 1226:comédie en 3 actes 1211:Barillon's wedding 1061:comédie en 3 actes 1049:Tailleur pour dames 1023:Eglantine d’Amboise 995: 945:La Puce à l'oreille 885:La Puce à l'oreille 872:, such as those by 842:Montmartre Cemetery 821:caused by tertiary 794:Francis de Croisset 688:La Puce à l'oreille 660:Feydeau discovered 562:Le Système Ribadier 535:Feydeau in London: 524:was a success, but 439:Tailleur pour dames 401:Tailleur pour dames 336:Tailleur pour dames 295:Franco-Prussian War 234:Archbishop of Paris 220:Ernest-Aimé Feydeau 188:Jean-Louis Barrault 153:La Puce à l'oreille 81:Tailleur pour dames 59:[ʒɔʁʒfɛ.do] 5829:Writers from Paris 5009:. London: Oberon. 4990:. New York: Lang. 4729:, 15 December 2010 4291:, 3 May 1956, p. 9 4231:"Palace Theatre", 4212:The New York Times 3894:The New York Times 3846:"Feydeau, Georges" 3798:Gidel, pp. 199−200 3681:Gidel, pp. 271–272 3381:The New York Times 3296:Gidel, pp. 138–139 3285:"His Little Dodge" 3038:Esteban, pp. 80–81 2986:Feydeau, Georges. 2407:Mind Millie for Me 2399:An Absolute Turkey 2256: 2169: 2061:Le Billet de mille 2025:J'ai mal aux dents 2008:For male performer 1989:La Petite révoltée 1734:Whose is my wife? 1633:Look after Amélie 1607:A flea in her ear 1360:with Desvallières 1331:with Desvallières 1267:with Desvallières 1214:with Desvallières 1187:The Edward affair 991: 941: 890: 776: 709: 607:Théâtre de l'Odéon 600: 549: 431: 403:(Ladies' tailor). 381:secrétaire général 362:was staged at the 339: 320:La Petite révoltée 248: 229:succès de scandale 48: 5806: 5805: 5775:A Flea in Her Ear 5618:Un fil à la patte 5272:978-0-02-866091-2 5248:978-0-333-28897-9 5229:978-0-8044-2700-5 5056:978-2-08-066280-4 5035:978-0-14-048191-4 5016:978-1-84943-993-0 4997:978-0-8204-2390-6 4978:978-0-521-35347-2 4959:978-1-84002-054-0 4916:978-0-224-01288-1 4897:978-1-84002-115-8 4878:978-1-4144-3135-2 4871:. Detroit: Gale. 4859:978-2-08-066280-4 4821:978-0-573-01148-1 4812:A Flea in Her Ear 4802:978-0-8057-6551-9 4795:. Boston: Twain. 4781:978-0-297-78142-4 4739:"Georges Feydeau" 4683:"Georges Feydeau" 4471:"Monsieur chasse" 3844:John, S. Beynon. 3562:Arène, Emmanuel. 3327:Gidel pp. 238–239 3249:"Court Theatre", 3137:Pascal, Nicolas. 2486:A Flea in Her Ear 2422:Un Fil à la patte 2328:13 rue de l'amour 2288:Un Fil à la patte 2280:A Flea in Her Ear 2274:'s adaptation of 2264:Un Fil à la patte 2208:in 1952, and the 2174:Comédie-Française 2148: 2147: 2137:Madame Sganarelle 2039:("Too old", 1882) 1974: 1973: 1815:Un bain de ménage 1797:L'Homme de paille 1783:Gibier de potence 1741: 1740: 1699:pièce en 3 actes 1367:Un fil à la patte 1296:Maurice Hennequin 1169:L'Affaire Edouard 1014:Title in English 987:Full-length works 967:, and critics in 910:A Flea in Her Ear 741:Lady from Maxim's 646:Alexandre Germain 623:The Gay Parisians 475:L'Affaire Edouard 316:Lycée Saint-Louis 273:Théophile Gautier 192:Comédie-Française 177:Look after Amélie 161:A flea in her ear 16:(Redirected from 5866: 5594:Monsieur chasse! 5572: 5565: 5558: 5549: 5548: 5535: 5534: 5519:Internet Archive 5504: 5489:— (1915). 5485: 5470:— (1911). 5466: 5451:— (1910). 5447: 5432:— (1909). 5428: 5413:— (1908). 5409: 5394:— (1907). 5390: 5375:— (1906). 5371: 5356:— (1905). 5352: 5337:— (1904). 5333: 5318:— (1903). 5314: 5299:— (1900). 5295: 5276: 5252: 5237:— (1982). 5233: 5212: 5193: 5174: 5155: 5136: 5117: 5098: 5079: 5060: 5039: 5020: 5001: 4982: 4963: 4937: 4920: 4909:. London: Cape. 4901: 4882: 4863: 4842: 4825: 4806: 4785: 4749: 4736: 4730: 4712: 4706: 4701:"Theatre Week", 4699: 4693: 4680: 4674: 4661: 4655: 4642: 4636: 4623: 4617: 4604: 4598: 4585: 4579: 4566: 4560: 4557: 4551: 4538: 4532: 4525: 4519: 4506: 4500: 4487: 4481: 4468: 4462: 4449: 4443: 4436: 4430: 4417: 4411: 4405: 4399: 4386: 4380: 4369: 4363: 4356: 4350: 4343: 4334: 4320:"Paris en parle" 4317: 4311: 4301:"Hotel Paradiso" 4298: 4292: 4285: 4279: 4276: 4267: 4254: 4248: 4229: 4223: 4208: 4202: 4189: 4183: 4170: 4164: 4161: 4155: 4152: 4146: 4143: 4137: 4134: 4128: 4125: 4119: 4116: 4110: 4107: 4101: 4098: 4092: 4089: 4083: 4080: 4074: 4071: 4065: 4062: 4056: 4055: 4042: 4036: 4033: 4027: 4024: 4018: 4015: 4009: 4006: 4000: 3997: 3991: 3988: 3982: 3979: 3973: 3970: 3964: 3961: 3955: 3952: 3946: 3943: 3937: 3934: 3919: 3916: 3910: 3907: 3898: 3889: 3883: 3880: 3874: 3871: 3865: 3862: 3856: 3855: 3842: 3836: 3833: 3827: 3824: 3818: 3805: 3799: 3796: 3787: 3784: 3778: 3775: 3769: 3766: 3760: 3759: 3741: 3728: 3722: 3715: 3709: 3706: 3700: 3697: 3691: 3688: 3682: 3679: 3670: 3667: 3658: 3655: 3649: 3646: 3640: 3637: 3631: 3628: 3622: 3619: 3613: 3610: 3604: 3601: 3595: 3592: 3583: 3580: 3571: 3560: 3551: 3534: 3528: 3525: 3519: 3516: 3507: 3504: 3498: 3495: 3486: 3479: 3473: 3470: 3464: 3461: 3455: 3452: 3443: 3440: 3434: 3431: 3425: 3422: 3416: 3399: 3393: 3390: 3384: 3379:"The Theatres", 3377: 3371: 3368: 3359: 3352: 3346: 3343: 3337: 3334: 3328: 3325: 3319: 3312: 3306: 3303: 3297: 3294: 3288: 3277: 3271: 3264: 3258: 3251:The Morning Post 3247: 3241: 3238: 3229: 3220: 3214: 3207: 3201: 3198: 3185: 3182: 3176: 3173: 3164: 3161: 3155: 3152: 3146: 3135: 3129: 3126: 3120: 3117: 3111: 3100: 3094: 3091: 3085: 3082: 3076: 3073: 3064: 3061: 3055: 3045: 3039: 3036: 3030: 3027: 3021: 3020:Gidel, pp. 61–62 3018: 3009: 3006: 3000: 2997: 2991: 2984: 2978: 2975: 2969: 2968:Gidel, pp. 50–53 2966: 2960: 2957: 2951: 2950:Gidel, pp. 41−42 2948: 2935: 2932: 2926: 2923: 2917: 2914: 2908: 2905: 2899: 2896: 2890: 2887: 2881: 2878: 2872: 2869: 2863: 2860: 2849: 2846: 2837: 2836: 2817: 2800: 2797: 2780: 2769: 2763: 2760: 2754: 2747: 2741: 2737: 2731: 2717: 2711: 2708: 2702: 2691: 2685: 2678: 2672: 2669: 2663: 2656: 2650: 2619: 2613: 2610: 2604: 2589: 2583: 2580: 2574: 2571: 2565: 2562: 2556: 2553: 2547: 2544: 2538: 2535: 2529: 2526: 2442:Fiancés en herbe 2426:Jérôme Deschamps 2371:Monsieur chasse! 2324:Monsieur chasse! 2284:National Theatre 2268:Laurence Olivier 2262:. The first was 2237:Look After Lulu! 2229: 2186:Madeleine Renaud 2166: 2013: 1997:("A whim", 1882) 1963: 1942: 1927: 1912: 1897: 1876: 1861: 1846: 1803:Fiancés en herbe 1791: 1776: 1749: 1689:with René Peter 1513: 1480: 1384:Tied by the leg 1342: 1312: 1221:Monsieur chasse! 1131:A pig in a poke 1114: 1057: 996: 994: 990: 780:Rue Saint-Lazare 772:Yvonne Printemps 627:A Night in Paris 616: 586:Victorien Sardou 578:Légion d'honneur 567:His Little Dodge 557:The Other Fellow 545:His Little Dodge 522:Monsieur chasse! 507:Monsieur chasse! 498:Alfred Hennequin 464: 453:" with music by 299:Boulogne-sur-Mer 277:Alexandre Dumas 269:Gustave Flaubert 181: 178: 175: 165: 162: 159: 149: 146: 140: 130: 127: 124: 120: 107:Alfred Hennequin 100: 97: 94: 89: 76:comic monologues 61: 56: 21: 5874: 5873: 5869: 5868: 5867: 5865: 5864: 5863: 5809: 5808: 5807: 5802: 5781: 5664: 5581: 5579:Georges Feydeau 5576: 5539:Georges Feydeau 5532: 5511: 5488: 5469: 5450: 5431: 5412: 5393: 5374: 5355: 5336: 5317: 5298: 5279: 5273: 5255: 5249: 5236: 5230: 5219:Georges Feydeau 5215: 5196: 5177: 5158: 5139: 5120: 5101: 5082: 5063: 5057: 5042: 5036: 5023: 5017: 5004: 4998: 4988:Five By Feydeau 4985: 4979: 4966: 4960: 4942:Mander, Raymond 4940: 4926:Georges Feydeau 4923: 4917: 4904: 4898: 4885: 4879: 4866: 4860: 4849:Georges Feydeau 4845: 4828: 4822: 4809: 4803: 4792:Georges Feydeau 4788: 4782: 4768:Sheridan Morley 4761: 4758: 4753: 4752: 4746:Wayback Machine 4737: 4733: 4723:Wayback Machine 4713: 4709: 4700: 4696: 4690:Wayback Machine 4681: 4677: 4671:Wayback Machine 4662: 4658: 4652:Wayback Machine 4643: 4639: 4633:Wayback Machine 4624: 4620: 4614:Wayback Machine 4605: 4601: 4595:Wayback Machine 4586: 4582: 4576:Wayback Machine 4567: 4563: 4558: 4554: 4548:Wayback Machine 4539: 4535: 4526: 4522: 4516:Wayback Machine 4507: 4503: 4497:Wayback Machine 4488: 4484: 4478:Wayback Machine 4469: 4465: 4459:Wayback Machine 4450: 4446: 4437: 4433: 4427:Wayback Machine 4418: 4414: 4408:"Chemin de fer" 4406: 4402: 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C. 4238: 4234: 4228: 4221: 4217: 4213: 4207: 4200: 4196: 4193: 4188: 4181: 4177: 4174: 4169: 4163:Lorcey, p. 95 4160: 4151: 4142: 4133: 4124: 4115: 4106: 4097: 4088: 4079: 4070: 4061: 4051: 4047: 4041: 4035:Gidel, p. 114 4032: 4023: 4014: 4005: 3996: 3987: 3978: 3969: 3960: 3951: 3942: 3933: 3931: 3929: 3927: 3925: 3915: 3906: 3904: 3896: 3895: 3888: 3879: 3870: 3861: 3851: 3847: 3841: 3832: 3823: 3816: 3812: 3809: 3804: 3795: 3793: 3783: 3774: 3765: 3755: 3752: 3748: 3745: 3737: 3733: 3727: 3720: 3714: 3708:Gidel, p. 277 3705: 3699:Gidel, p. 274 3696: 3687: 3678: 3676: 3669:Gidel, p. 266 3666: 3664: 3654: 3645: 3636: 3627: 3618: 3609: 3600: 3591: 3589: 3579: 3577: 3569: 3565: 3559: 3557: 3549: 3545: 3541: 3538: 3533: 3527:Gidel, p. 202 3524: 3515: 3513: 3503: 3494: 3492: 3484: 3478: 3469: 3460: 3451: 3449: 3439: 3430: 3421: 3414: 3410: 3406: 3403: 3398: 3392:Gaye, p. 1535 3389: 3382: 3376: 3367: 3365: 3357: 3351: 3342: 3333: 3324: 3317: 3311: 3302: 3293: 3286: 3282: 3276: 3269: 3263: 3256: 3252: 3246: 3237: 3235: 3227: 3226: 3219: 3212: 3206: 3197: 3195: 3193: 3191: 3181: 3172: 3170: 3160: 3151: 3144: 3140: 3134: 3125: 3116: 3109: 3105: 3099: 3090: 3081: 3072: 3070: 3060: 3053: 3049: 3044: 3035: 3026: 3017: 3015: 3005: 2996: 2989: 2983: 2974: 2965: 2956: 2947: 2945: 2943: 2941: 2931: 2922: 2913: 2904: 2895: 2886: 2877: 2868: 2859: 2857: 2855: 2845: 2843: 2832: 2828: 2824: 2821: 2816: 2814: 2812: 2810: 2808: 2806: 2799:Esteban, p. 1 2796: 2792: 2778: 2774: 2768: 2759: 2752: 2746: 2736: 2729: 2728:John Mortimer 2725: 2722: 2716: 2707: 2700: 2696: 2690: 2683: 2677: 2668: 2661: 2655: 2648: 2644: 2640: 2636: 2632: 2628: 2624: 2618: 2609: 2602: 2598: 2597:Alain Feydeau 2594: 2588: 2579: 2570: 2561: 2552: 2543: 2534: 2525: 2521: 2508: 2503: 2493: 2491: 2487: 2483: 2479: 2475: 2471: 2467: 2463: 2459: 2455: 2451: 2447: 2443: 2439: 2435: 2431: 2430:Quatre pièces 2427: 2423: 2419: 2415: 2410: 2408: 2404: 2400: 2396: 2392: 2388: 2384: 2380: 2376: 2372: 2368: 2364: 2360: 2359:Chat en poche 2356: 2352: 2348: 2344: 2340: 2335: 2333: 2329: 2325: 2321: 2320:Chemin de fer 2317: 2316:La Main passe 2313: 2309: 2305: 2301: 2297: 2293: 2289: 2285: 2281: 2277: 2273: 2272:John Mortimer 2269: 2265: 2261: 2253: 2249: 2245: 2243: 2239: 2238: 2233: 2228: 2223: 2219: 2215: 2211: 2207: 2203: 2199: 2195: 2191: 2190:Pierre Bertin 2187: 2183: 2179: 2175: 2165: 2164: 2158: 2144: 2138: 2135: 2132: 2129: 2126: 2123: 2120: 2117: 2114: 2111: 2108: 2105: 2102: 2099: 2096: 2093: 2090: 2087: 2084: 2081: 2080: 2079: 2074: 2073:Le Volontaire 2071: 2068: 2065: 2062: 2059: 2056: 2053: 2050: 2047: 2044: 2041: 2038: 2035: 2032: 2029: 2026: 2023: 2020: 2017: 2016: 2015: 2014: 2002: 2001:Aux antipodes 1999: 1996: 1993: 1990: 1987: 1986: 1970: 1964: 1961: 1956: 1952: 1949: 1946: 1943: 1940: 1935: 1931: 1928: 1925: 1920: 1916: 1913: 1910: 1905: 1901: 1898: 1895: 1890: 1886: 1883: 1880: 1877: 1874: 1869: 1865: 1862: 1859: 1854: 1850: 1847: 1844: 1839: 1835: 1834: 1833: 1828: 1825: 1822: 1819: 1816: 1813: 1810: 1807: 1804: 1801: 1798: 1795: 1792: 1789: 1784: 1780: 1777: 1774: 1769: 1765: 1762: 1759: 1756: 1753: 1752: 1751: 1750: 1736: 1733: 1730: 1727: 1725: 1722: 1720: 1717: 1716: 1712: 1709: 1706: 1703: 1701: 1698: 1696: 1693: 1692: 1688: 1685: 1682: 1680: 1677: 1674: 1671: 1669: 1668: 1664: 1663: 1659: 1656: 1653: 1650: 1647: 1644: 1642: 1639: 1638: 1635: 1632: 1629: 1626: 1623: 1620: 1618: 1617: 1613: 1612: 1609: 1606: 1603: 1600: 1597: 1594: 1592: 1591: 1587: 1586: 1583: 1580: 1577: 1574: 1571: 1568: 1566: 1563: 1562: 1559: 1555: 1552: 1549: 1546: 1543: 1540: 1538: 1535: 1534: 1531: 1528: 1525: 1522: 1519: 1516: 1514: 1511: 1506: 1502: 1501: 1498: 1495: 1492: 1489: 1486: 1483: 1481: 1478: 1473: 1469: 1468: 1464: 1461: 1458: 1456: 1453: 1450: 1447: 1445: 1442: 1441: 1438: 1435: 1432: 1429: 1426: 1423: 1421: 1420: 1416: 1415: 1412: 1409: 1406: 1404:Palais-Royal 1403: 1400: 1397: 1395: 1394: 1390: 1389: 1386: 1383: 1380: 1378:Palais-Royal 1377: 1374: 1371: 1369: 1368: 1364: 1363: 1359: 1356: 1353: 1350: 1347: 1344: 1341: 1340: 1335: 1334: 1330: 1327: 1324: 1321: 1318: 1315: 1313: 1310: 1305: 1301: 1300: 1297: 1293: 1290: 1287: 1285:Palais-Royal 1284: 1281: 1278: 1276: 1275: 1271: 1270: 1266: 1263: 1260: 1257: 1254: 1251: 1249: 1248: 1244: 1243: 1240: 1237: 1234: 1232:Palais-Royal 1231: 1228: 1225: 1223: 1222: 1218: 1217: 1213: 1210: 1207: 1204: 1201: 1198: 1196: 1193: 1192: 1189: 1186: 1183: 1181: 1178: 1175: 1172: 1170: 1167: 1166: 1163: 1159: 1156: 1153: 1151: 1148: 1145: 1142: 1140: 1137: 1136: 1133: 1130: 1127: 1125: 1122: 1119: 1116: 1113: 1112: 1111:Chat en poche 1107: 1106: 1103: 1099: 1096: 1093: 1090: 1087: 1084: 1082: 1079: 1078: 1075: 1072: 1069: 1066: 1063: 1060: 1058: 1055: 1050: 1046: 1045: 1041: 1038: 1035: 1032: 1029: 1026: 1024: 1021: 1020: 997: 984: 982: 978: 977:Kenneth Tynan 974: 973:Marcel Achard 970: 966: 962: 957: 952: 948: 946: 938: 934: 926: 922: 913: 911: 907: 903: 899: 895: 887: 886: 881: 877: 875: 871: 867: 863: 859: 855: 845: 843: 839: 834: 832: 828: 824: 820: 815: 813: 809: 805: 801: 800: 795: 791: 787: 783: 781: 773: 769: 765: 760: 751: 749: 742: 737: 735: 726: 724: 720: 716: 715: 706: 705: 700: 696: 694: 690: 689: 684: 680: 676: 665: 663: 659: 655: 651: 647: 643: 642: 637: 636: 630: 628: 624: 620: 615: 614: 608: 604: 597: 593: 589: 587: 583: 579: 575: 570: 568: 564: 563: 558: 546: 542: 538: 537:Alfred Maltby 533: 529: 527: 523: 519: 515: 514: 509: 508: 503: 499: 495: 485: 483: 482:Carolus-Duran 478: 476: 472: 468: 463: 462: 461:Chat en poche 456: 452: 448: 444: 440: 436: 427: 421: 415: 413: 408: 407: 402: 398: 397:La Parisienne 394: 390: 386: 382: 377: 375: 374: 369: 365: 361: 356: 352: 348: 344: 337: 332: 323: 321: 317: 313: 308: 304: 300: 296: 291: 289: 288:Henri Meilhac 285: 281: 280: 274: 270: 265: 262: 258: 253: 246: 241: 237: 235: 231: 230: 226:(1858) was a 225: 221: 206: 204: 200: 195: 193: 189: 183: 171: 170: 155: 154: 145: 136: 135: 119: 118: 112: 111:Henri Meilhac 108: 104: 90: 87: 82: 77: 71: 69: 65: 60: 52: 46: 45:Carolus-Duran 41: 37: 33: 19: 5859:Belle Époque 5773: 5765: 5757: 5749: 5741: 5733: 5725: 5717: 5709: 5701: 5693: 5685: 5677: 5656: 5648: 5640: 5632: 5624: 5616: 5608: 5600: 5592: 5578: 5491: 5472: 5453: 5434: 5415: 5396: 5377: 5358: 5339: 5320: 5301: 5282: 5260: 5238: 5218: 5199: 5180: 5161: 5142: 5123: 5104: 5085: 5066: 5045: 5025: 5006: 4987: 4968: 4949: 4925: 4906: 4887: 4868: 4848: 4830: 4811: 4791: 4771: 4734: 4727:The Guardian 4726: 4710: 4702: 4697: 4678: 4659: 4640: 4621: 4602: 4583: 4564: 4555: 4536: 4523: 4504: 4485: 4466: 4447: 4434: 4415: 4403: 4384: 4376: 4372: 4367: 4359: 4354: 4346: 4330: 4315: 4296: 4288: 4283: 4252: 4244: 4237:The Observer 4236: 4232: 4227: 4219: 4215: 4211: 4206: 4187: 4168: 4159: 4150: 4141: 4132: 4123: 4114: 4105: 4096: 4087: 4078: 4069: 4060: 4049: 4040: 4031: 4022: 4013: 4004: 3995: 3990:Gidel, p. 89 3986: 3977: 3968: 3959: 3950: 3941: 3914: 3892: 3887: 3878: 3869: 3860: 3849: 3840: 3831: 3822: 3803: 3786:Gidel, p. 89 3782: 3773: 3764: 3753: 3735: 3726: 3718: 3713: 3704: 3695: 3686: 3653: 3644: 3635: 3626: 3617: 3608: 3599: 3567: 3532: 3523: 3502: 3482: 3477: 3468: 3459: 3438: 3429: 3420: 3412: 3397: 3388: 3380: 3375: 3355: 3350: 3341: 3332: 3323: 3315: 3310: 3301: 3292: 3281:The Standard 3280: 3279:"Theatres", 3275: 3267: 3262: 3254: 3250: 3245: 3223: 3218: 3210: 3205: 3200:Meyer, p. 10 3180: 3159: 3150: 3142: 3133: 3124: 3115: 3107: 3098: 3089: 3080: 3059: 3051: 3043: 3034: 3025: 3008:Gidel, p. 61 3004: 2999:Gidel, p. 58 2995: 2982: 2973: 2964: 2955: 2934:Gidel, p. 51 2930: 2921: 2916:Gidel, p. 29 2912: 2907:Gidel, p. 32 2903: 2894: 2885: 2880:Gidel, p. 23 2876: 2867: 2848:Gidel, p. 27 2830: 2795: 2776: 2772: 2767: 2758: 2750: 2745: 2735: 2720: 2715: 2706: 2694: 2689: 2681: 2676: 2667: 2654: 2617: 2608: 2587: 2578: 2569: 2560: 2551: 2542: 2533: 2524: 2505: 2490:Richard Eyre 2485: 2481: 2477: 2469: 2461: 2453: 2449: 2445: 2441: 2437: 2433: 2429: 2421: 2418:Lukas Hemleb 2413: 2411: 2406: 2402: 2398: 2394: 2386: 2382: 2378: 2374: 2370: 2366: 2358: 2350: 2346: 2338: 2336: 2331: 2327: 2323: 2319: 2315: 2311: 2307: 2299: 2295: 2291: 2287: 2279: 2275: 2263: 2257: 2241: 2240:(1959, from 2235: 2224:(1956, from 2221: 2213: 2197: 2177: 2170: 2142: 2136: 2130: 2124: 2118: 2112: 2106: 2100: 2094: 2089:Les Réformes 2088: 2082: 2072: 2067:Les Célèbres 2066: 2060: 2054: 2048: 2042: 2036: 2030: 2024: 2018: 2000: 1994: 1988: 1968: 1953: 1947: 1932: 1917: 1902: 1887: 1881: 1866: 1851: 1836: 1826: 1820: 1814: 1808: 1802: 1796: 1781: 1766: 1760: 1754: 1718: 1694: 1665: 1640: 1614: 1588: 1564: 1558:Louis Varney 1536: 1503: 1470: 1443: 1417: 1391: 1365: 1302: 1272: 1245: 1219: 1205:Renaissance 1194: 1168: 1138: 1080: 1067:Renaissance 1047: 1022: 968: 964: 953: 949: 944: 942: 936: 923: 919: 909: 905: 901: 893: 891: 883: 862:Louis Varney 851: 835: 831:Napoleon III 816: 811: 807: 797: 789: 785: 784: 777: 774:, April 1919 768:Sacha Guitry 745: 740: 733: 731: 718: 712: 710: 702: 693:Joseph Torin 686: 682: 678: 674: 671: 657: 656:(1910); for 653: 649: 639: 633: 631: 626: 622: 618: 602: 601: 595: 588:and Becque. 573: 571: 566: 560: 556: 553: 544: 525: 521: 511: 505: 491: 479: 474: 466: 442: 438: 435:Jules Prével 432: 419: 411: 404: 400: 396: 393:Henry Becque 380: 378: 371: 359: 350: 346: 340: 335: 319: 292: 278: 266: 261:Napoleon III 257:Duc de Morny 251: 249: 227: 223: 217: 196: 184: 167: 166:, 1907) and 151: 132: 79: 72: 64:Belle Époque 50: 49: 36: 5824:1921 deaths 5819:1862 births 5670:Adaptations 4764:Graham Payn 4569:"Le Dindon" 4559:Hall, p. 94 4257:"Le Dindon" 3102:"Intérim". 2773:La Lycéenne 2724:Noël Coward 2601:Jean-Pierre 2496:Adaptations 2298:(1971) and 2232:Noël Coward 2184:, starring 2107:Les Enfants 2019:Le Mouchoir 1958: [ 1937: [ 1922: [ 1907: [ 1892: [ 1871: [ 1856: [ 1841: [ 1827:Notre futur 1786: [ 1771: [ 1713:unfinished 1627:Nouveautés 1575:Vaudeville 1565:Le Bourgeon 1523:Nouveautés 1508: [ 1490:Nouveautés 1475: [ 1430:Nouveautés 1351:Nouveautés 1328:The ribbon 1307: [ 1258:Nouveautés 1091:Nouveautés 1081:La Lycéenne 1052: [ 902:Le Bourgeon 605:ran at the 443:La Lycéenne 433:The critic 355:Henry Gidel 307:Bad Homburg 214:Early years 84: [ 5813:Categories 5751:The Turkey 3481:Slonimsky 3209:"France", 2787:References 2405:(1996, as 2397:(1994, as 2391:Peter Hall 2385:(1984, as 2373:, five of 2326:(1978, as 2037:Trop vieux 2031:Le Potache 1978:Monologues 1641:Le Circuit 1537:L'Âge d'or 961:Strindberg 854:monologues 790:Le Circuit 754:Last years 652:(1892) to 526:Champignol 447:vaudeville 343:two-hander 199:sanatorium 5626:Le Dindon 5501:172996346 5482:172996346 5463:172996346 5444:172996346 5425:172996346 5406:172996346 5387:172996346 5368:172996346 5349:172996346 5330:172996346 5311:172996346 5292:172996346 5209:172996346 5190:172996346 5171:172996346 5152:172996346 5133:172996346 5114:172996346 5095:172996346 5076:172996346 4948:(2000) . 4703:The Stage 4377:The Times 4373:The Times 4360:The Times 4347:The Times 4289:The Times 4233:The Times 3568:Le Figaro 3485:, p. 1806 3255:The Times 3211:The Times 3143:Var-matin 3108:Le Figaro 3052:Le Figaro 2414:Le Dindon 2395:Le Dindon 2369:three of 2318:(1973 as 2310:(1972 as 2308:Le Dindon 2214:Le Dindon 2192:. At the 1651:Variétés 1601:Variétés 1547:Variétés 1410:The dupe 1393:Le Dindon 1100:music by 969:Le Figaro 874:Offenbach 870:opérettes 719:Le Figaro 668:1900–1909 635:Le Dindon 465:(1888), 457:, 1887), 420:Le Figaro 412:Le Figaro 373:Le Figaro 284:governess 182:, 1908). 150:, 1899), 131:, 1894), 5528:LibriVox 4770:(eds.). 4742:Archived 4719:Archived 4686:Archived 4667:Archived 4648:Archived 4629:Archived 4610:Archived 4591:Archived 4572:Archived 4544:Archived 4512:Archived 4493:Archived 4474:Archived 4455:Archived 4423:Archived 4392:Archived 4323:Archived 4304:Archived 4260:Archived 4195:Archived 4176:Archived 3811:Archived 3747:Archived 3540:Archived 3405:Archived 3402:"Dindon" 2823:Archived 2647:Van Gogh 2639:Pissarro 2334:(1977). 2282:for the 2210:West End 2206:Broadway 2083:Le Colis 1581:The bud 1304:Le Ruban 1180:Variétés 1008:Theatre 894:Le Ruban 823:syphilis 819:dementia 711:In 1908 603:Le Ruban 574:Le Ruban 477:(1889). 451:opérette 305:town of 190:and the 5517:at the 5007:Feydeau 4839:5997224 4756:Sources 3744:"farce" 3732:"farce" 3719:The Era 3356:The Era 3316:The Era 3268:The Era 3225:The Era 2623:Cézanne 2464:(2017, 2456:(2013, 2322:), and 2119:Le Juré 1679:Athénée 1124:Déjazet 981:Molière 473:), and 383:to the 368:cocotte 345:called 144:Maxim's 55:French: 18:Feydeau 5778:(1968) 5770:(1966) 5762:(1964) 5754:(1951) 5746:(1950) 5738:(1949) 5730:(1933) 5722:(1933) 5714:(1932) 5706:(1931) 5698:(1926) 5690:(1925) 5682:(1923) 5661:(1914) 5653:(1908) 5645:(1907) 5637:(1899) 5629:(1896) 5621:(1894) 5613:(1892) 5605:(1892) 5597:(1892) 5499: 5480: 5461: 5442: 5423: 5404: 5385: 5366: 5347: 5328: 5309: 5290: 5269: 5245: 5226: 5207: 5188: 5169: 5150: 5131: 5112: 5093: 5074: 5053: 5032: 5013: 4994: 4975: 4956: 4934:669869 4932: 4913: 4894: 4875: 4856: 4837: 4818: 4799: 4778: 2643:Renoir 2627:Sisley 2599:; and 2468:) and 2424:(2010 2401:) and 2357:, and 2230:) and 2167:, 1906 2152:Legacy 2143: 1969: 1448:opéra 1322:Odéon 1017:Notes 1011:Perfs 999:Title 866:farces 725:said: 707:, 1908 598:, 1899 547:(1896) 245:Ernest 68:farces 5586:Plays 4969:Farce 3483:et al 2635:Monet 2631:Corot 2516:Notes 1962:] 1941:] 1926:] 1911:] 1896:] 1875:] 1860:] 1845:] 1790:] 1775:] 1675:1914 1648:1909 1624:1908 1598:1907 1572:1906 1544:1905 1520:1904 1512:] 1487:1902 1479:] 1455:Gaîté 1451:1902 1427:1899 1401:1896 1375:1894 1348:1894 1319:1894 1311:] 1294:with 1282:1892 1255:1892 1229:1892 1202:1890 1176:1889 1160:with 1150:Cluny 1146:1888 1120:1888 1088:1887 1064:1886 1056:] 1030:1873 1005:Year 848:Works 827:Rueil 488:1890s 326:1880s 224:Fanny 203:Rueil 88:] 5543:IMDb 5497:OCLC 5478:OCLC 5459:OCLC 5440:OCLC 5421:OCLC 5402:OCLC 5383:OCLC 5364:OCLC 5345:OCLC 5326:OCLC 5307:OCLC 5288:OCLC 5267:ISBN 5243:ISBN 5224:ISBN 5205:OCLC 5186:OCLC 5167:OCLC 5148:OCLC 5129:OCLC 5110:OCLC 5091:OCLC 5072:OCLC 5051:ISBN 5030:ISBN 5011:ISBN 4992:ISBN 4973:ISBN 4954:ISBN 4930:OCLC 4911:ISBN 4892:ISBN 4873:ISBN 4854:ISBN 4835:OCLC 4816:ISBN 4797:ISBN 4776:ISBN 2645:and 2480:(as 2444:and 2428:), 2188:and 1683:200 1630:288 1526:211 1433:579 1407:238 1381:129 1354:371 1261:434 1235:114 975:and 929:quo. 770:and 539:and 445:(a " 279:fils 275:and 109:and 5541:at 5526:at 3848:, 3141:, 2695:was 2460:), 2420:), 2409:). 2314:), 2278:as 2234:'s 2220:'s 1654:44 1604:86 1578:92 1550:33 1493:82 1459:16 1325:45 1288:78 1208:26 1184:17 1154:64 1128:36 1094:20 1070:79 732:In 543:in 395:'s 303:spa 252:née 201:at 5815:: 4944:; 4766:; 4725:, 4338:^ 4329:, 4271:^ 4048:, 3923:^ 3902:^ 3791:^ 3734:, 3674:^ 3662:^ 3587:^ 3575:^ 3566:, 3555:^ 3546:, 3511:^ 3490:^ 3447:^ 3411:, 3363:^ 3233:^ 3189:^ 3168:^ 3106:, 3068:^ 3050:, 3013:^ 2939:^ 2853:^ 2841:^ 2829:, 2804:^ 2641:, 2637:, 2633:, 2629:, 2625:, 2492:. 2440:, 2436:, 2345:, 1960:fr 1939:fr 1924:fr 1909:fr 1894:fr 1873:fr 1858:fr 1843:fr 1788:fr 1773:fr 1731:– 1728:– 1707:– 1704:– 1510:fr 1477:fr 1309:fr 1054:fr 1036:– 1033:– 844:. 721:, 584:, 496:, 370:. 271:, 105:, 86:fr 5571:e 5564:t 5557:v 5503:. 5484:. 5465:. 5446:. 5427:. 5408:. 5389:. 5370:. 5351:. 5332:. 5313:. 5294:. 5275:. 5251:. 5232:. 5211:. 5192:. 5173:. 5154:. 5135:. 5116:. 5097:. 5078:. 5059:. 5038:. 5019:. 5000:. 4981:. 4962:. 4936:. 4919:. 4900:. 4881:. 4862:. 4841:. 4824:. 4805:. 4784:. 2701:. 2649:. 2290:( 449:- 180:' 174:' 172:( 164:' 158:' 156:( 148:' 139:' 137:( 129:' 123:' 121:( 99:' 93:' 91:( 53:( 34:. 20:)

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