Vaudeville Beginnings

      From a young age, Sarah Bernhardt knew she was meant for the stage. At 13, Bernhardt joined the Comédie Française, which was one of the most prestigious French theatres at the time. There, she studied theatre until she was offered a role as a pensionnaire at the theatre. Her debut was on August 31, 1862 in the title role of Racine's Iphigénie. She did not perform greatly, as she rushed lines and had stage fright (Skinner, 37). After a few more roles at this theatre, she left in 1863. Bernhardt then turned to the Gymnase, another popular theatre where she became an understudy but still did not find the success and popularity she desired. After another poor performance, she decided to quit theatre and travel. In 1864, she gave birth to her son in Paris and picked up smaller roles at Porte Saint-Martin theatre to earn money to care for her son. Then in 1866, she was hired for the second most prestigious theatre, the Odéon. Bernhardt did not find success here until 1867, where her performances improved with roles such as a little boy due to her body type (Skinner, 54). Fortunately, she had a breakout performance in 1868, in Kean where she received a standing ovation and an immediate raise at the end of her performance. Bernhardt saw continued success this year with Le Passant which played over 150 times at the Odéon. (Skinner, 63)

 

     

 

 

 

 

 

 

 

 

 

 

 

 

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      After the war's end in 1871, Bernhardt returned to the Odeon due to her competitiveness and began acting again. In 1872, the Comédie Française offered her to come back with a pay raise compared to the Odeon. She found success after success during this time, everything she performed in seemed to do well. In the late 19th century, as Bernhardt was gaining popularity for her acting abilities, vaudeville was becoming one of the most popular forms of entertainment among urban folk (Douglas and McDonnell, 78). Traveling entertainers brought vaudeville acts all around the world, and Douglas was no stranger to international touring cycles. In 1880, she left this theatre and decided to tour the UK and the United States. She played over 150 times in 51 cities and her tour was an overall massive success, both for her fame and for her pockets (Skinner, 196). By this point in her life, Bernhardt could be labeled an international superstar. She would go on a world tour every 3 to 4 years when she needed more money and continued to impress critics around the world. In 1893 she purchased Theatre de la Renaissance and ran shows until 1899, where she did everything, including eight weekly performances. In 1899, she sold that theatre and purchased another one, renaming it Theatre Sarah Bernhardt. She then went on multiple worldwide farewell tours, performing success after success at countless different cities. Unfortunately, Bernhardt had to get her leg amputated in 1915 due to gangrene infections from an injury but despite this continued to perform some roles even after amputation, including performances for soldiers making their way to the front lines. (Skinner, 322)

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      Sarah Bernhardt started her creative career in vaudeville theatre and ended it in vaudeville theatre; she had a certain knack for the arts and did performances most years of her life. She spent most her life in a theater and found herself reflecting on her earlier years of acting when she would have her acts sandwiched between two vaudeville acts during her later tours post-amputation.