Eugene Marin Labiche

Eugène Marin Labiche (5 May 1815 – 23 January 1888) was a French dramatist, perhaps best known for his 1851 farce written with Marc-Michel, The Italian Straw Hat, which has since been adapted many times to stage and screen.

He was born into a bourgeois family and studied law. At the age of twenty, he contributed a short story to Chérubin magazine, entitled Les plus belles sont les plus fausses. A few others followed, but failed to catch the attention of the public. He tried his hand at dramatic criticism in the Revue des théâtres and in 1838, wrote and premiered two plays.

The small Théâtre du Pantheon produced, to some popular success, his drama L'Avocat Loubet, while a vaudeville, Monsieur de Coyllin ou l'homme infiniment poli (written in collaboration with Marc-Michel and performed at the Palais Royal) introduced a provincial actor who was to become and to remain a great Parisian favourite, Grassot, the famous comedian.

In the same year Labiche, still doubtful about his true vocation, published a romance called La Clé des champs. According to Léon Halévy, Labiche's publisher went bankrupt soon after the novel was out: "A lucky misadventure, for this timely warning of Destiny sent him back to the stage, where a career of success was awaiting him." There was yet another obstacle in the way. When he married, Labiche solemnly promised his wife's parents that he would renounce a profession then considered incompatible with moral regularity and domestic happiness. A year later, his wife released him from his vow, and Labiche recalled the incident when he dedicated the first edition of his complete works to her.

In conjunction with Varin, Marc-Michel, Louis François Clairville, Philippe François Dumanoir, and others, he contributed comic plays interspersed with couplets to various Paris theatres. He was considered a successful but undistinguished vaudevillist, until he paired with Marc-Michel to create the five-act farce, Un Chapeau de paille d'Italie (The Italian Straw Hat), which turned out to be a major success upon its opening in August 1851. It is an accomplished specimen of the French imbroglio-style play, in which someone is in search of something, but does not find it till five minutes before the curtain falls. For the next twenty-five years, he continued to write successful comedies and vaudevilles, all basically constructed on the same plan and containing a dose of comic observation and good sense. "Of all the subjects," he said, "which offered themselves to me, I have selected the bourgeois. Essentially mediocre in his vices and in his virtues, he stands half-way between the hero and the scoundrel, between the saint and the profligate."

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