French postcard by Neurdein Frères, Paris, no. 42. Photo: P. Nadar. Constant Coquelin as Cyrano de Bergerac. Sent by mail in 1903.
French postcard by Neurdein Frères Photo-Edit, no. 37. Photo: P. Nadar. Caption: Coquelin Ainé (Cyrano de Bergerac).
French postcard by F.C. & Cie., no. 86. Photo: Paul Boyer, Paris. Caption: Coquelin Ainé in the play 'La Montespan'.
French postcard by ELD. Coquelin with unidentified actress, probably in a Molière play.
French postcard, no B140. Photo: AL. Caption: Coquelin Ainé.
French postcard by Croissant, Paris, no. 3609. Photo: Henri Manuel. Caption: M. Constant Coquelin.
A triumph with 'Cyrano de Bergerac'
Benoît-Constant Coquelin was born in Boulogne-sur-Mer, Pas-de-Calais in 1841. He originally intended to follow his father's trade of baking (he was once called "un boulanger manqué" – "a failed baker" – by a hostile critic), but his love of acting led him to the Conservatoire, where he entered Régnier's class in 1859. He won the first prize for comedy within a year.
Coquelin entered the Comédie-Française in 1860. He made his début on 7 December 1860 as the comic valet, Gros-René, in Molière's 'Le Dépit amoureux', but his first great success was as Figaro in 'The Barber of Seville', in 1861. It was an honour for Coquelin to be a part of the Comédie-Française at such a young age. This company had already been in existence for around 150 years.
He became Sociétaire at the Comédie-Française in 1864. The sociétaires co-manage, choose plays, and share profits. He left in 1887 to go on European and American tours and returned as Pensionnaire between 1890 and 1892. Despite the strict rules of the Comédie not playing afterwards on other stages, Coquelin had a triumph in 1897 with Edmond Rostand's 'Cyrano de Bergerac' and would play it many times.
In 1900, when he was almost sixty, Coquelin toured in America with Sarah Bernhardt and appeared on Broadway's Garden Theatre in a production of 'Cyrano de Bergerac' (Bernhardt played Roxane). On their return to France, he continued with his old colleague to appear in 'L'Aiglon', at the Théâtre Sarah Bernhardt.
For his booming voice and his lyrical and fiery temperament, Rostand wrote 'Chantecler', but the actor died in 1909 before it could be performed by him.
French postcard by Croissant, Paris, no. 3609. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
French postcard by Croissant, Paris, no. 3609. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
French postcard by Croissant, Paris, no. 3509. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
French postcard by Croissant, Paris, no. 3609. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
French postcard by Croissant, Paris, no. 3609. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
French postcard by Croissant, no. 3609. Photo: Henri Manuel, Paris. Constant Coquelin in the play 'Cyrano de Bergerac'.
His only film
In 1892 Benoît-Constant Coquelin broke definitively with the Comédie-Française and toured for some time through the capitals of Europe with a company of his own. In New York, he performed at Abbey's Theatre in 1894, playing the lead in 'Tartuffe (his son Jean played Orgon) and Mascarille in 'Les Précieuses ridicules'. In 1895 he joined the Renaissance theatre in Paris and played there until he became director of the Théâtre de la Porte Saint-Martin in 1897.
The only film of Benoît-Constant Coquelin was an early sound film shot by Lumiere brothers operator Felix Mesguich in 1900, though others state Clement Maurice as the responsible. It was a scene from Edmond Rostand's 'Cyrano de Bergerac's duel scene, the role Coquelin Sr. had created in 1897. Check out Cyrano de Bergerac (Clément Maurice, 1900) on Wikipedia.
The film contained sound recording on a phonograph cylinder. The film is thought to be the first ever made with both colour and sound. It was shown at the Phono-Cinema Theatre in Paris during the famous 1900 Exposition. After the exposition closed, Mesguich took the films on a three-month tour all over Europe.
Coquelin was rehearsing for the creation of the title role in Edmond Rostand's 'Chantecler', which he was to produce when he died suddenly in Paris in 1909. The New York Times printed an obituary, in which it described many tributes to the dead actor, including a visit by the personal secretary of the President of the Republic, Armand Fallières. His brother, Ernest, and his son, Jean, were also actors.
Benoît-Constant Coquelin was an Officier de l'Instruction Publique and of the Legion of Honour. In 1930 his only film was found back, together with early sound films; in 1952 it was inserted in the film Cinema Parlant 1900.
Vintage French postcard. Series Collection Artistique du Vin Désiles. S.I.P. Photo by Paul Boyer. Caption: S'il avait connu cet admirable reconstituant qui a nom de Vin Désiles, quels prodiges n'ait pas réalisés mon maître Cyrano.
Vintage French postcard. Series Collection Artistique du Vin Désiles. S.I.P. Photo by G.P., Paris. Caption: S'il avait connu cet admirable reconstituant qui a nom de Vin Désiles, quels prodiges n'ait pas réalisés mon maître Cyrano.
French postcard by Neurdein Frères Photo-Edit, no. 38. Photo: P. Nadar. Caption: Coquelin Ainé (Cyrano de Bergerac).
French postcard by L'H, Paris. M. Coquelin Ainé in the role of Cyrano in 'Cyrano de Bergerac'.
French postcard. Caption: M. Coquelin Ainé dans "Cyrano de Bergerac".
French postcard by F.C. & Cie., no. 63. Photo: Boyer & Bert, Paris Caption: Coquelin Ainé dans "Cyrano de Bergerac".
French postcard by F.C. & Cie., no. 162-2. Coquelin Ainé in 'Cyrano de Bergerac'.
French postcard by ELD.
French postcard by ELD. Retirement home of the Association des Artistes Dramatiques in Pont-aux-Dames-Couilly (S.- and M.) M. Coquelin Ainé, Président. Coquelin founded the instution in 1903. In 1902, he said about his idea: "I want to see my old white-haired comedians, grouped together in a flowery asylum, like bees in a hive, with the difference that the bees are working and they won't be doing anything. I want to see them, without a hint of melancholy, in their sunny house, chatting about their former successes, under the green boughs of their shady park. And I even want them to continue acting, as a hobby, to distract themselves, these theatre veterans. I want them to have a naïve, charming little theatre where, from time to time, they will give a performance and the few profits they make will help to meet their meagre needs.".
Sources: Comedie Francaise and Wikipedia (French and English).
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