Sipping champagne during the interval, or after a show, adds a touch of sophistication, allowing theatre-goers to savour the moment and extend the enchantment of the evening. Both Champagne and the theatre are steeped in tradition and luxury, combining to offer a taste of the high life and a memorable indulgence that elevates the whole experience.
Internationally known for its quality and refined elegance, Champagne’s reputation proceeds it as a pop culture icon often referenced in films and TV shows, as well as music and theatre. It has become a symbol of prestige and success, being strongly associated to celebration and special occasions, with just the sound of the pop of a cork. Although Champagne had long been used in literature, it was not until 1675 that it made its first appearance on the stage, in ‘The Man of Mode’, also known as ‘Sir Fopling Flutter’, a comedy by the English playwright Sir George Etherege, in which the main character sings “At the Plays we are constantly making our Court / And When they are ended we follow the sport. / To the Mail and the Park Where we love till ‘tis dark; / Then Sparkling Champagne / Puts an end to their reign”. Champagne was later mentioned in two of George Farquhar’s plays, ‘Love and a Bottle’, and ‘The Constant Couple’.
After these shy beginnings, Champagne was launched on the stage – in England (Richard-Brinsley Sheridan’s ‘The Rivals’) and Germany (JW von Goethe’s ‘Faust’). However, Champagne was most prominent in the theatre in France. Examples include plays by Jean-François Regnard (‘Les Folies Amoureuses’), Charles-François Panard (‘Les Festes Sincères’) and Marivaux (‘La Réunion des Amours’ and ‘Les Rivaux’).
In England, Oscar Wilde quoted Champagne in ‘The Importance of Being Earnest’ (“I have often observed that in married households the Champagne is rarely of a first-rate brand” / “Good heavens! Is marriage so demoralising as that?”). And while the actress Mary Frances Scott-Siddons did not drink Champagne in her roles, she was so popular that she was one of the first actresses to have a cuvée of Champagne named after her.
Before the beginning of the 20th century, Champagne in the theatre almost exclusively symbolised celebration and love; it was the wine of boulevard comedies, opera buffas and vaudevilles. From 1900 onwards, it was also the wine of playwrights such as Edmond Rostand (‘L’Aiglon’), Jean Anouilh (‘Léocadia’), Paul Claudel (‘L’Echange’), Harold Pinter (‘No Man’s Land’) and René Obaldia (‘Les Bons Bourgeois’).
But it’s not just about what’s happening on stage. Going to the theatre is such a treat, so it seems sensible to make it even more special by having a glass of Champagne before the show, and maybe even during the interval too. A lot of theatres will keep a bottle on ice for you to finish during the interval, so no undignified downing of glasses before the curtain rises!
