Letter to the Countess of T. on a Second French Theater in Paris

decent; some of the Plays performed there are quite passable, and elevated enough above vulgar language and usage to reform some ridiculous manners and vices. They used to sing there; that harmed no one; no matter, there were superior orders that forbade it! O cruel exclusive privilege. From his place, I go to Audinot’s. His little Comedies have a salt, a piquancy that charms; it is further enhanced by the youth of the Actresses, by the ease and naivety of their acting. His plays themselves are superior to those of Nicolet. I have seen charming ones performed, well-written, and ultimately worthy of another Theater. I also find an advantage in the Troupe of the Sieur Audinot. It is that it is like a field where one can cultivate a nursery of Actors of both sexes, who, trained from their most tender youth in Theatrical Acting, will move from there, according to their talents, some to the Italians, others to the French, and many to the Opera. But the Government, far from encouraging the Entrepreneur (a man of wit and taste), seems to want to ruin him and destroy his Show; proof of this, Madame, is that from the beginning, there was singing and dancing: for some years now, there is no more singing and dancing. The Opera wants to sing and dance