Although the perennial comedies of Molière naturally figured frequently in the bills, Armande and La Grange had a keen eye for novelties, and did not disdain to tickle the public with melodramas and spectacular plays; and it was from these indeed that the theatre derived the greater part of its revenue. Thus _Circé_, a tragedy by Thomas Corneille, with changes of scenery, and music by Charpentier, brought in 24,000 livres in nine performances; while the _Devineresse_, a comic-melodrama, by the same playwright and Donneau de Visé, on the adventures of La Voisin, the poisoner, was played for forty-seven consecutive nights, almost a record for those days. Another success was achieved when Thomas Corneille turned Molière's _Don Juan_ into verse, "eliminating the speeches which offended the scrupulous." Donneau de Visé, to whose "puffing" in the _Mercure_ the Théâtre Guénégaud was probably indebted for not a little of its popularity, declared that in the process of transition the play "had acquired new beauties without losing any of the old," and though few will be found to agree with this pronouncement, the new version proved exceedingly popular. The first of the above-mentioned plays, in which Armande secured a great personal triumph in the part of the beautiful sorceress, was associated with a singular incident. One evening, a well-dressed man, who occupied a seat upon the stage, approached the actress, as she was standing in the wings awaiting her turn to go on, and addressed her in the manner of an ardent and favoured lover. "Never," said he, "have I seen you look so beautiful. Were it not that I am already your slave, I should be so from this moment."