It is astounding how they talk in the boxes and how the
public submits. The ballet is always good. Halanzier was director of the
Grand Opera, and we went sometimes to his box behind the scenes, which
was most amusing. He was most dictatorial, occupied himself with every
detail,--was consequently an excellent director. I remember seeing him
inspect the corps de ballet one night, just before the curtain went up.
He passed down the line like a general reviewing his troops, tapping
lightly with a cane various arms and legs which were not in position. He
was perfectly smiling and good-humoured: "Voyons, voyons, mes petites,
ce n'est pas cela,"--but saw everything.
What W. liked best was the Theatre Francais. We hadn't a box there, but
as so many of our friends had, we went very often. Tuesday was the
fashionable night and the Salle was almost as interesting as the stage,
particularly if it happened to be a premiere, and all the critics and
journalists were there. Sarah Bernhardt and Croizette were both playing
those first years. They were great rivals and it was interesting to see
them in the same play, both such fine talents yet so totally different.
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