Editing Sarah Bernhardt (section)

===Théâtre Sarah Bernhardt (1899–1900)===
<gallery mode="packed" heights="250">
File:Théâtre de la Ville cpa.jpg|The Théâtre Sarah Bernhardt (now the [[Théâtre de la Ville]])<br>(c. 1905)
File:Bernhardt Hamlet2.jpg|Bernhardt in ''Hamlet'' (1899)
File:Alfons Mucha - 1899 - Hamlet.jpg|Poster by Mucha for ''Hamlet'' (1899)
File:Sarah Bernhardt as L'Aiglon 1900.jpg|Bernhardt in ''[[L'Aiglon]]'' (1900)
</gallery>
Despite her successes, her debts continued to mount, reaching two million gold francs by the end of 1898. Bernhardt was forced to give up the Renaissance, and was preparing to go on another world tour when she learned that a much larger Paris theater, the [[Théâtre des Nations]] on [[Place du Châtelet]], was for lease. The theatre had 1,700 seats, twice the size of the Renaissance, enabling her to pay off the cost of performances more quickly; it had an enormous stage and backstage, allowing her to present several different plays a week; and because it was designed as a concert hall, it had excellent acoustics. On 1 January 1899, she signed a 25-year lease with the City of Paris, though she was already 55 years old.{{Sfn|Tierchant|2009|page=277}}

She renamed it the Théâtre Sarah Bernhardt, and began to renovate it to suit her needs. The façade was lit by 5,700 electric bulbs, 17 arc lights, and 11 projectors.{{Sfn|Tierchant|2009|page=278}} She completely redecorated the interior, replacing the red plush and gilt with yellow velvet, brocade, and white woodwork. The lobby was decorated with life-sized portraits of her in her more famous roles, painted by Mucha, [[Louise Abbéma]], and Georges Clairin. Her dressing room was a five-room suite, which, after the success of her Napoleonic play ''L'Aiglon'', was decorated in [[Empire Style]], featuring a marble fireplace with a fire Bernhardt kept burning year round, a huge bathtub that was filled with the flowers she received after each performance, and a dining room fitting 12 people, where she entertained guests after the final curtain.{{Sfn|Skinner|1967|pages=262–63}}

Bernhardt opened the theatre on 21 January 1899 with a revival of Sardou's ''La Tosca'', which she had first performed in 1887. This was followed by revivals of her other major successes, including ''Phédre'', ''Theodora'', ''Gismonda'', and ''La Dame aux Camélias'', plus Octave Feuillet's ''Dalila'', Gaston de Wailly's ''Patron Bénic'', and Rostand's ''La Samaritaine,'' a poetic retelling of the story of the [[Samaritan woman at the well]] from the [[Gospel of John]]. On 20 May, she premiered one of her more famous roles, playing the titular character of ''Hamlet'' in a prose adaptation which she had commissioned from Eugène Morand and [[Marcel Schwob]].<ref>{{harvnb|Gottlieb|2010|page=142}}</ref> She played Hamlet in a manner which was direct, natural, and very feminine.{{Sfn|Skinner|1967|page=260}} Her performance received largely positive reviews in Paris, but mixed reviews in London. The British critic [[Max Beerbohm]] wrote "the only compliment one can conscientiously pay her is that her Hamlet was, from first to last, a truly ''[[grand dame]]''."{{Sfn|Skinner|1967|page=261}}

In 1900, Bernhardt presented ''L'Aiglon'', a new play by Rostand. She played the [[Napoleon II|Duc de Reichstadt]], the son of [[Napoleon Bonaparte]], imprisoned by his unloving mother and family until his melancholy death in the [[Schönbrunn Palace]] in Vienna. ''L'Aiglon'' was a verse drama, six acts long. The 56-year-old actress studied the walk and posture of young cavalry officers and had her hair cut short to impersonate the young Duke. The Duke's stage mother, [[Marie-Louise of Austria]], was played by Maria Legault, an actress 14 years younger than Bernhardt. The play ended with a memorable death scene; according to one critic, she died "as dying angels would die if they were allowed to."{{Sfn|Skinner|1967|pages=260–261}} The play was extremely successful; it was especially popular with visitors to the [[Exposition Universelle (1900)|1900 Paris International Exposition]], and ran for nearly a year, with standing-room places selling for as much as 600 gold francs. The play inspired the creation of Bernhardt souvenirs, including statuettes, medallions, fans, perfumes, postcards of her in the role, uniforms and cardboard swords for children, and pastries and cakes; the famed chef [[Escoffier]] added Peach Aiglon with [[Chantilly cream]] to his repertoire of desserts.{{Sfn|Tierchant|2009|pages=287–288}}

Bernhardt continued to employ Mucha to design her posters and expanded his work to include theatrical sets, programs, costumes, and jewellery props. His posters became icons of the [[Art Nouveau]] style. To earn more money, Bernhardt set aside a certain number of printed posters of each play to sell to collectors.{{Sfn|Tierchant|2009|pages=238–39}}{{Sfn|Tierchant|2009|pages=239–40}}