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Origin and history

The Théâtre des Variétés is based on the initiative of Marguerite Brunet, known as Miss Montansier, who had already owned a theatre in Versailles since 1777. Taking advantage of the upheavals of the French Revolution, she moved to Paris in 1790 and took over the theatre of Beaujolais under the arcades of the Palais-Royal, which she renamed "Variance-Montansier". Despite her success, she was imprisoned for debt in 1803, and her theatre was closed in 1807 under pressure from the neighbouring Comédie-Française. Thanks to Napoleon I's intervention, at 77 she obtained imperial support to build a new theatre.

The new building, designed by architects Jacques Cellier and Jean-Antoine Alavoine, is erected on the boulevards, in the former garden of the Hotel de Montmorency-Luxembourg, near the Panoramas Pass. Inaugurated on 24 June 1807 with Le Panorama de Momus, a vaudeville de Désaugiers, it quickly became an emblematic place of Parisian cultural life. The facade and vestibule, the only remains of the original building, were classified as historical monuments in 1974, while the hall was inscribed in the same year.

In the 19th century, the theatre of Varieties established itself as a high place of opera-bouffe, thanks in particular to Jacques Offenbach, who created La Belle Hélène in 1864, followed by other successes such as Barbe-Bleue (1866) and La Grande-Duchesse de Gérolstein (1867). These works, written in collaboration with Meilhac and Halévy, redefine the identity of the theatre. During the siege of Paris in 1870, the establishment was transformed into an ambulance under the direction of Dr Bonnière, who treated the wounded with innovative methods.

The 20th century marked a turning point with the projection in 1907 of Michel Carré's first European feature film, the Prodigal Child. The theatre also hosts major creations such as Topaz by Marcel Pagnol (1928) or César (1946), and in 2010 participates in the founding of the Paris Theatres Associates, an alliance of 50 private theatres. His role in popular culture was immortalized by Émile Zola in Nana (1880), where he served as a framework for the rise of the main character.

Architecturally, the theatre preserves original elements despite transformations, such as the enlargement of 1833 (addement of lodges and a garden) or the renovation of 1886 (ceiling redone, painted decorations). The scene, which remained in its original arrangement, and the room decorated with white and gold testify to its past prestige. Today owned by a private company, it remains a symbol of Parisian theatre heritage, combining history, innovation and tradition.

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