Source: Count Harry Kessler (translated and edited by Charles Kessler), The Diaries of a Cosmopolitan 1918-1939 (London: Weidenfeld & Nicolson), p. 303
Production: Jean Cocteau, Orphée, Théâtre des Arts, Paris, 15 June 1926
Text: First night of Cocteau’s Orphée, under Pitoeff’s direction, at the Théâtre des Arts. Tickets costs a hundred francs each (the same as for the Russian Ballet) and the audience was the usual smart and international et, including many Americans, British, and even Japanese. The play, which the Serts have long praised as a masterpiece, disappointed me. I thought it fumbling, neither true tragedy nor true comedy. Its focal point is an impossible, unintentionally funny figure of an angel (calculated appeal to the fashionably Catholic trend of taste). The part is played by a revoltingly mawkish, effeminate young man who appears to have escaped from some dreadful hairdresser’s. This sugary youth completely spoiled my taste for a production which was not improved by the fact of Mme Piteoff being once again far gone in pregnancy, a detail lending the part of Eurydice a touch of the grotesque. I was so ruffled that I quickly took myself off after the performance, greeting neither Cocteau nor the Serts.
Comments: Harry Kessler (1868-1937) was an Anglo-German aristocrat and diplomat. His diaries are an exceptionally vivid and observant account of art and politics in Weimar Germany. Jean Cocteau‘s Orphée had its debut at the Théâtre des Arts (now the Théâtre Hébertot) in Paris on 15 June 1926. It was directed by Georges Pitoëff (who also played Orphée). His wife Ludmilla played Eurydice. The ‘angel’ Heurtebise was played by Marcel Herrand. The Serts were the artist Josep Maria Sert and his pianist wife Misia. Most sources say that the play had its premiere on 17 June.