199:; Georges learns the same as regards Angèle. There is no doubt in the mind of either that he has terribly injured his friend, and both are conscience-stricken. A bracelet has been found in the restaurant, which fell from the arm of the mysterious "pink domino", and, in the midst of noisy and fruitless explanations between the whole party, it is brought in. This relieves Paul and Georges from their self recriminations, but it leads to a discovery that almost equally confounds them, for it turns out to belong to Madame Beaubuisson, a
204:
Paul sees in it a hole that had been burned by his cigar; Georges sees a corner that he had accidentally torn, and both are consequently enlightened as to whose conquest they have effected. Each keeps his knowledge to himself. Marguerite is pleased at the success of her plan and Angèle has had her lesson in
Parisian philosophy; Marguerite has no great confidence that the men's reformation will last, but both wives are satisfied to forgive the antics of their penitent husbands.
180:. With the aid of Hortense, Marguerite's maid, they concoct notes from supposed anonymous admirers to Georges and Paul, their spouses, inviting them to a rendezvous that evening. Both husbands fall for the ploy and invent plausible excuses for absenting themselves from home that night. Each meets his friend's wife, who is disguised under the folds of a "pink domino". (The
187:
Paul with
Marguerite on his arm, and Georges conducting Angèle, both adjourn after midnight to private dining rooms in a fashionable restaurant. The potential for confusion is enhanced by the presence in another private room of Hortense, the maid, also wearing a pink domino. She is escorted by Henri,
175:
Marguerite and Angèle are two young married women. The former is a mildly cynical
Parisienne, and the latter a more innocent country girl. Angèle is indignant when her friend suggests that all husbands are untrustworthy, and she agrees to Marguerite's suggestion of putting the matter to a practical
244:
found the play "very laughable … highly amusing" and the third act in particular "a marvel of merriment". The critic wondered whether the piece could be staged in any other city than Paris "so thinly-veiled is the impropriety that renders its incidents amusing", but by
October the play was running
203:
who for thirty years has been seen as a model of rectitude. In the end this mystery, as well as all the other incidents of the evening, is explained when it becomes known that the young lawyer had borrowed some of his aunt's jewellery with which to adorn
Hortense. The latter's domino is produced;
239:
commented, "Really, if we were to believe the vaudevillists, we would have a strange idea of
Parisian households. There are only conjugal misfortunes, marriage contracts hacked about, perpetual distrust, shady permutations of husbands and wives, an entire structure of betrayal and lies only just
232:
wrote, "I will not tell you that the laughter completely escapes vulgarity, but the important thing is to have fun, and frankly we were very amused with the frenetic comings and goings. Quiproquos go round and round … misunderstandings succeed surprises". The
112:. It opened on 17 April 1876 and ran for a total of 127 performances. The run was not continuous as, in common with other Paris theatres, the Vaudeville closed for several weeks during the height of each summer.
192:– mistaken identities – follows, in which there is a continual, rapid interchange of partners. Hortense flirts with each of the men in turn, and eventually all three couples leave.
599:
562:
108:, which ran for 175 performances, at a time when a run of 100 performances was regarded as a success for a Parisian theatre. The authors' next piece for the house was
671:
188:
a young lawyer, the nephew of
Marguerite's formidable aunt, Madame Beaubuisson. When the three couples have supped, and the champagne has flowed freely, a series of
539:
184:
defines a domino as "A kind of loose cloak, apparently of
Venetian origin, chiefly worn at masquerades, with a small mask covering the upper part of the face").
235:
345:. It was first seen on Broadway, where it ran for 155 performances. The same production opened in London in 1915, running for 460 performances.
279:
found it "exceedingly brisk and amusing … far brighter and more natural than its
English version". The Albery version was revived in London by
402:
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propped up, and collapsing in the last act amid the bursts of laughter from the audience." The Paris correspondent of the London paper
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41:, each wife disguises herself in a pink domino – a hooded cloak with a mask – to woo the other's husband.
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296:, was premiered in Vienna. The libretto was adapted from Delacour and Hennequin's original by
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275:. At the same time the original French version was running at New York's Théâtre-Français:
8:
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409:, Opérette – Théâtre Musical, Académie Nationale de l'Opérette. Retrieved 29 July 2020
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emerged from a succession of short and unprofitable runs with the production of
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48:, Paris on 17 April 1876 and ran for 127 performances. It was adapted for the
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Next morning Paul finds that
Georges's wife had been at the ball, wearing a
597:"Harris, Sir Augustus Henry Glossop (1852–1896), actor and theatre manager"
254:
176:
test. Each will attempt to woo the other's husband at a masked ball at the
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33:. It concerns a plan by two wives to test their husbands' fidelity. At a
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is one character being mistaken for another, a key device of farce.
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63:
510:, Dictionnaire de l’Académie française. Retrieved 17 August 2020
267:
and ran for 555 performances. The same adaptation was given on
22:
316:
as the final work of the golden age of Viennese operetta.
721:
610:, Oxford University Press, 2004. Retrieved 10 May 2020
699:, Internet Broadway Database. Retrieved 21 August 2020
633:, Internet Broadway Database. Retrieved 21 August 2020
390:
Noël and Stoullig (1876), p. 250 and (1877), p. 467
459:
85:
823:
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300:and Heinrich von Waldberg, and the music was by
283:in 1889. An Italian adaptation of the original,
263:. It opened in London in March 1877, starring
787:Les Annales du théâtre et de la musique, 1876
768:Les Annales du théâtre et de la musique, 1875
722:Delacour, Alfred; Alfred Hennequin (1884).
571:Journal officiel de la République française
236:Journal officiel de la République française
158:Hortense, maid to Marguerite – Mlle Pierski
62:, and later became the basis of a Viennese
271:between August and November 1877 starring
146:Marguerite, wife of Georges – Lucie Davray
802:
319:In 1914 the play was the basis of a new
784:Noël, Edouard; Edmond Stoullig (1877).
765:Noël, Edouard; Edmond Stoullig (1876).
608:Oxford Dictionary of National Biography
824:
518:
516:
427:Noël and Stoullig (1877), pp. 467–468
253:The play was adapted into English by
487:participating institution membership
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44:The play was first produced at the
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807:. New York and London: Routledge.
678:, 060608. Retrieved 21 August 2020
341:and Rubens, and a book adapted by
21:(The Pink Dominos) is a three-act
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642:"The Drama in the Metropolis",
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752:. London: Rupert Hart-Davis.
708:Mander and Mitchenson, p. 114
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366:In French theatrical usage a
349:Notes, references and sources
290:In 1896 an operatic version,
155:Mme Beaubuisson – Mlle Alexis
116:Beaubuisson – François Parade
614:UK public library membership
449:Delacour and Hennequin, p. 4
418:Delacour and Hennequin, p. 3
218:
7:
582:"Theatricals in Brussels",
125:Paul Aubier – Pierre Berton
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803:Traubner, Richard (2003).
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245:successfully in Brussels.
669:"Un domino color di rosa"
467:Oxford English Dictionary
182:Oxford English Dictionary
659:, 3 November 1889, p. 16
646:, 18 November 1877, p. 3
573:, 24 April 1876, p. 2904
440:, 2 September 1876, p. 5
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140:Head waiter – M. Jourdan
750:Lost Theatres of London
655:"The London Theatres",
586:, 29 October 1876, p. 5
472:Oxford University Press
285:Un domino color di rosa
170:
149:Angèle, wife of Paul –
790:. Paris: Charpentier.
771:. Paris: Charpentier.
697:"To-night's the Night"
644:The Boston Daily Globe
537:"Chronique parisienne"
522:"The Drama in Paris",
436:"The Paris Theatres",
277:The Boston Daily Globe
161:Foedora – Mlle Piccolo
687:Traubner, pp. 140–141
550:, 22 April 1876, p. 3
526:, 23 April 1876, p. 4
438:The Pall Mall Gazette
97:Le Procès Veauradieux
92:Théâtre du Vaudeville
46:Théâtre du Vaudeville
326:To-Night's the Night
304:. In his history of
143:Waiter – M. Vaillant
134:Philippe – M. Michel
79:To-Night's the Night
842:Plays set in France
728:. Paris: Allouard.
470:(Online ed.).
166:Source: Playscript.
137:Germain – M. Bource
674:2020-08-21 at the
631:"The Pink Dominos"
627:"The Pink Dominos"
602:2020-08-21 at the
565:2020-08-21 at the
560:"Revue dramatique"
542:2020-08-21 at the
506:2020-08-21 at the
405:2020-08-18 at the
273:Charles F. Coghlan
119:Georges Duménil –
814:978-0-415-96641-2
725:Les Dominos roses
612:(subscription or
485:(Subscription or
337:, with lyrics by
329:, with music by
302:Richard Heuberger
110:Les Dominos roses
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90:In 1876 the
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501:"quiproquo"
335:Jerome Kern
331:Paul Rubens
298:Viktor LĂ©on
249:Adaptations
201:grande dame
197:domino rose
39:Paris Opéra
35:masked ball
832:1876 plays
826:Categories
489:required.)
378:References
312:describes
56:stages as
796:172996346
777:172996346
734:697961532
616:required)
477:15 August
368:quiproquo
219:Reception
82:, 1914).
748:(1968).
672:Archived
600:Archived
563:Archived
540:Archived
504:Archived
461:"domino"
403:Archived
306:operetta
269:Broadway
208:Source:
128:Henri –
64:operetta
54:Broadway
50:West End
716:Sources
657:The Era
584:The Era
524:The Era
308:(2003)
242:The Era
223:In the
211:The Era
37:at the
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732:
758:41974
483:
354:Notes
178:Opéra
23:farce
809:ISBN
792:OCLC
773:OCLC
754:OCLC
730:OCLC
629:and
479:2020
333:and
171:Plot
104:and
52:and
29:and
257:as
100:by
25:by
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