Gregory, Eliot, 1854-1915 / 2008-07-31 00:00:00

As the story unfolded itself I was more and more delighted. His idea of resuscitating the quaint interior of the Hotel de Bourgogne Theatre was original, and the balcony scene, even in outline, enchanting. After the reading Rostand dashed off as he had come, and for many weeks I saw no more of him.
"La Princesse Lointaine was, in the meantime, produced by Sarah, first in London and then in Paris. In the English capital it was a failure; with us it gained a succes d'estime, the fantastic grace and lightness of the piece saving it from absolute shipwreck in the eyes of the literary public.
"Between ourselves," continued Coquelin, pushing aside his plate, a twinkle in his small eyes, "is the reason of this lack of success very difficult to discover? The Princess in the piece is supposed to be a fairy enchantress in her sixteenth year. The play turns on her youth and innocence. Now, honestly, is Sarah, even on the stage, any one's ideal of youth and innocence?" This was asked so naively that I burst into a laugh, in which my host joined me. Unfortunately, this grandmamma, like Ellen Terry, cannot be made to understand that there are roles she should leave alone, that with all the illusions the stage lends she can no longer play girlish parts with success.
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