The notice is revealing on several counts. First, the scorn that the Chat Noir would have heaped upon a competitor had Salis still con- trolled the paper, has given way to the formular approbation of a society page. Second, while Lemercier and Teulet were defectors from the Chat Noir, the others mentioned in the notice had never performed there. Yon-Lug had joined Trombert’s touring Théatre des Ombres Lyriques when it came to Lyon in 1892. Scevola was a painter who had begun singing at the Cabaret de la Butte, the short- lived predecessor of the Quat’z-Arts. It was no longer necessary for a chansonnier to have received his ‘artistic consecration’ at the Chat Noir. Third, if Salis had spurred the evolution of cabaret towards chamber theatre with his shadow plays, Lemercier’s revue marked yet another tum in that development. The revue, hitherto a staple in the- atres, cafés-concerts, and music-halls, was now successfully adapted for the cabaret, as the satirical revue d’actualité. Such revues involved fairly informal, often spur-of-the-moment collaboration. Two authors would contribute several scenes each, and a few chansonniers pooled their efforts for the music. If successfull enough to enjoy a long run, a revue continued to satirize political and social developments as they occurred; the authors revised, added, and struck scenes and © Jacques Femy, “Le Cabaret des Quat’z-Ants’, in 2 special number of Les Chansonnien: de Maramantre, 10 (25 Oct. 1006). +