[93] For much of the information in the early part of this chapter the author is indebted to _Loges et Coulisses_, by Jules Huret. [94] Who, twenty-eight years later, with Pierre Berton, was to write for her _Zaza_, one of her most successful plays. [95] Mme. Réjane recalls that her costume on this occasion was the object of much solicitude on the part of Regnier. On the day of the contest he came to her house at nine in the morning to pass judgment on her dress, which was made of white tarlatan at nine _sous_ per metre, and cost in all about ten francs. Mme. Regnier loaned gloves for the occasion. [96] Aimée Olympe Desclée (1836–1874), of the _Gymnase_, who excelled in modern French emotional plays. She acted with success in London, and also appeared in Belgium and Russia. [97] The students played also in the suburbs, at Versailles, Mantes, and Chartres. It was at Chartres, where she had a part in _Les Paysans Lorrains_, that the playbills first named her Réjane. Till now she had gone by her own name of Réju. She played also, while still a student, at _matinées-conférences_ at the _Porte-Saint-Martin_, in _Le Depit Amoureux_ and _Les Ménechmes_. [98] Her first appearance at the _Vaudeville_ was on March 25, 1875. Her first three parts were small rôles in _La Revue des Deux-Mondes_, _Fanny Lear_, and _Vaudeville’s Hotel_. There followed: _Madame Lili_, _Midi à Quatorze Heures_, _Renaudin de Caen_, _La Corde_, 1875; _Le Verglas_, _Le Premier Tapis_, _Les Dominos Roses_, _Perfide comme L’Onde_, _Le Passe_, 1876; _Pierre_, _Les Vivacités du Capitaine Tic_, _Le Club_, 1877; _Le Mari d’Ida_, 1878; _Les Memoires du Diable_, _Les Faux Bonshommes_, _Les Tapageurs_, _Les Lionnes Pauvres_, 1879; _La Vie de Bohème_, _Le Père Prodigue_, 1880; _La Petite Sœur_, _Odette_, 1881; _L’Auréole_, _Un Mariage de Paris_, 1882; all at the _Vaudeville_. At various theatres: _Les Demoiselles Clochart_, _La Princess_, _Les Variétés de Paris_, _La Nuit de Noces de P. L. M._, _La Glu_, 1882; _Ma Camarade_, 1883; _Les Femmes Terribles_, 1884; _Clara Soleil_, 1885; _Allo! Allo!_, _Monsieur de Morat_, 1886–87; _Décoré_, _Germinie Lacerteux_, _Shylock_, 1888; _Marquise_, 1889; _La Famille Benoîton_, _Le Mariage de Figaro_, _La Vie à Deux_, 1889–90; _Ma Cousine_, 1890; _Amoreuse_, _Fantasio_, _La Cigale_, _Brevet Supérieur_, 1891; _Lysistrata_, _Sapho_, 1892; _Madame Sans-Gêne_, 1893; _Villégiature_, _Les Lionnes Pauvres_, _Maison de Poupée_, 1894; _Viveurs_, 1895; _Lolotte_, _La Bonne Hélène_, _Le Partage_, _Divorçons_, 1896; _La Douloureuse_, 1897; _Paméla_, _Le Roi Candaule_, _Zaza_, _Le Calice_, _Georgette Lemeunier_, 1898; _Le Lys Rouge_, _Mme. de Lavalette_, 1899; _Le Faubourg_, _Le Béguin_, _La Robe Rouge_, _Sylvie ou la Curieuse d’Amour_, 1900; _La Pente Douce_, _La Course du Flambeau_, 1901; _La Passerelle_, _Le Masque_, _Le Joug_, 1902; _Heureuse_, _Antoinette Sabrier_, 1903; _La Montansier_, _La Parisienne_, 1904; _L’Age D’Aimer_, 1905; _La Piste_, 1906.