Imagine, if you will, stepping back in time to an era of theatrical innovation right here where the Gymnase du dispensaire stands today. This location has a rich history connected to the world of Parisian theatre.
The story of the Gymnase du dispensaire actually begins with the Theatre du Gymnase. It opened its doors in 1820. Rougevin and Guerchy were the architects. They constructed it in under three months. The location was once home to the Cafe Vasparo. Before that, it was the Notre-Dame-de-Bonne-Nouvelle cemetery.
Initially, the Gymnase Dramatique served as a training ground. Students from the Conservatoire honed their skills here. They performed one-act plays and adaptations. The inauguration on December 23, 1820, featured a vaudeville prologue. Scribe, Moreau, and Melesville created “Le Boulevard de Bonne-Nouvelle.” Moliere’s “L’amour medecin” was also performed. It was shortened to one act by removing ballets and interludes.
Delestre-Poirson, the first director, quickly expanded the repertoire. He included plays of no more than three acts. These plays were always mixed with couplets and musical interludes. Scribe became his exclusive writer. He also gained favor with Madame, the Duchess of Berry. In the summer of 1824, he sent his troupe to Dieppe. They entertained the Duchess. He was then authorized to rename the theatre. It became the Theatre de Madame.
Parisians quickly embraced this modern establishment. Poirson was among the first to install gas lighting in 1823. They applauded lighthearted and moral plays. Some plays had liberal undertones. Scribe’s “Avant, pendant et apres” displeased the Court in 1829.
In June 1830, the theatre closed for repairs. After the July Revolution, it reopened. It reverted to its original name, Gymnase Dramatique. It has kept this name ever since.
For 25 years, the theatre championed bourgeois virtues. Domesticated love played a supporting role. It highlighted the importance of the Father of the Family. Wisdom and Reason triumphed. In 1844, Poirson passed the direction to Montigny. Montigny noticed a shift in public taste. Audiences grew tired of edifying works and pure heroines. The Gymnase gradually changed its repertoire. It entered a new phase.
The Theatre du Gymnase became known for sentimental dramas. Monselet noted in 1864 that it specialized in passion and exceptional sentiments. Its repertoire explored the illicit and scandalous. It magnified scandals with compromising situations and calculated effrontery. Plays included pistol shots, sobs, and agonies.
This period featured works by Balzac and Alexandre Dumas Pere. Pieces by Sardou, Feuillet, and Meilhac and Halevy were performed. Alexandre Dumas Fils’s thesis plays were particularly significant. The Theatre du Gymnase introduced him to critics and audiences. Just as Scribe defined the first era, Dumas Fils became the ideal playwright for a new period.
From 1881, works by Ohnet and Marcel Prevost led to the Bernstein period. Bernstein created several notable works at the Gymnase. These included “Samson” and “La Galerie des glaces.” He became director in 1926.
In 1939, Henry Bernstein was succeeded by Madame Paule Rolle. She staged works like Marcel Pagnol’s “Jazz.” Sacha Guitry performed on the stage where his father debuted. In 1962, Madame Marie Bell took over the direction.
Jacques Bertin became the director in August 1985. He had been the administrator since 1975. The theatre was then known as the Theatre du Gymnase Marie Bell.
The Gymnase du dispensaire now stands. It is a place where stories once unfolded on stage. It echoes with the whispers of actors. The applause of audiences resonates through time. This corner of Paris holds a unique place. It celebrates the enduring power of theatre.