The table below gives details of recent productions staged at the Theatre Royal.

• The Grand Destiny

  Dijon's first play was a thorough success despite many Paris gentlemen being away fighting the Spanish. The story concerned a young man coming to Paris to find his fortune. He is spurned by all avenues having no name of his own, but still refuses to fall to a decline of morals. Then, through the kindness of a good woman and her friends, he finds himself in a position to defend the King's honour, and subsequent employment in the Queen's Own. Many of the city's most beautiful ladies were in the cast, and there was a dedication to France's brave soldiers before the opening night performance.

• Ainhoa

  This was the first part of Dijon's trilogy addressing the ongoing conflict with Spain. The play got a lukewarm reception perhaps because said conflict had not yet finished, depressing spirits in the city.

• Redemption

  Part two of the trilogy received better reviews than the first. The play continued in the same tragic vein as the first part by referring to the Summer campaign just passed, and standing as a tribute to France's soldiers.

• The Barbarian of Seville

  Roger de Villain's play was a huge success, attracting large audiences and even getting a favourable mention in Jean Luc's sermon. The story was one of revenge with five corrupt French courtiers plotting to kidnap the King's favourite General (who had just won a mighty victory against the Spanish) and his family, and sell them into slavery under the King of Spain. The Spanish King foully murders the General and his wife but is persuaded to spare their young son, who is imprisoned in the castle dungeon in an iron mask. Eighteen years later, the young son escapes and returns to Paris, vowing vengeance on those who wronged his family. He catches one of them in a coach on the way to Paris and slays him but the others are now long dead so he decides to take revenge on their offspring. Shortly after the end of the play's run, de Villain was ordained into the clergy which would seemingly put an end to his theatricals.

• Retribution

  The final part of Dijon's trilogy provided a satisfactory conclusion though the attendance was poor, perhaps due to the long gap since the previous part was staged. The story features an army officer, wrongly accussed of cowardice, who leads a rag tag group of soldiers into the enemy camp while the other troops of His Majesty's army prepare for an assault against the larger Spanish force. However, the small squad is captured and the preparations for the assualt prevented. It is only the love and respect of a endentured French damsel in the charge of the Spanish commander that sets the captives free just in time to ensure French victory.

• The Laughing Jester

  This production marked Dijon's first foray into comedy albeit one with overtones of a tragedy. The play's run was a success despite former playwright and now Curate, Roger de Villain, damning it as an offence against God, the monarchy and man, and urging his congregation not to go see it. The story features a jester who is wise beyond his years, and a foolish king who has no wisdom. There are two daughters, princesses who wish to marry their loves, but their loves are but common men. The king offers each of the daughters a price, part of his kingdom to leave their loves and marry his chosen successors. The jester wisely warns him against this action as it will only lead to the loss of his lands and his daughters. In the end the jester is proven right and too late the king discovers the truth as his chosen successors wage war and only his daughters' beloveds are honourable enough to defend the land. A happy ending comes unfortunately with the death of a king who learns wisdom from a laughing jester too late to save himself and only soon enough to retain the love of his daughters.

• Roman Holiday

  Michel Grognard's maiden production was a farce set in a villa outside of ancient Rome. The story revolves around the arrival of Senator Denarius for an inspection of the accounts of the estate, of which he is absentee landlord. The major domo, Dubious, is a slave with a keen lust for freedom. He has been embezzling in an attempt to gain the money needed. Other members of the cast are: Juvenilus (youthful son of Denarius), Voluptua (the maid, and the object of Juvenilus’ platonic affections), and Hysteria (wife of Dubious).

  In act one, news of the Senator’s arrival later that day is announced. Dubious panicks and discusses with his wife Hysteria. She suggests that if the Senator could be diverted to the problem of Juvenilus ignoring his Homer for Voluptua, the audit may not come off. They both start to work on the younger people’s reluctance to do anything risque.

  In act two, the Senator arrives and Hysteria and Dubious set about convincing him that the real trouble on his estate is his son and his "vile interest in things carnal," which of course is exactly the opposite. Juvenilus moons about reciting romantic poetry written for Voluptua, but none of it is bawdy. Still, the old man is worried.

  In the third and final act, there is much running in and out of doors as Dubious and Hysteria try to put Voluptua and Juvenilus in a physically compromising position, but they fail to even get them into the same room at the same time. At last, the Senator can stand no more, concludes that the house is too crazy to sleep in and returns to Rome, audit undone. Dubious is so grateful he gives the money back to Juvenilus, who frees him in return. Voluptua is so taken with this that she agrees to be betrothed to the boy and all ends well.

• The Moor

  This play was relatively well received considering the crowd troubles on the opening night and the concern certain clergymen had at first had about the subject matter. Dijon's own press release read as follows:

  At Last! The return of Dijon to the stage featuring the ladies Rhonda and Cheri. Imagine:

  Two women, captured by pirates and sold into slavery to Moor Prince. The sisters, daughters of a French nobleman hate their possessor but find themselves captivated by his great nobility and his tender gentleness. The Moor is a great leader of men and warrior, decisive and sure. No decision left to another, no regret for any decision made. Slowly the daughters realize that in truth, their captivity is no captivity at all until they find themselves following the paths of love for the sake of their noble-captor. Each struggles with themselves and in the end each other as they try to capture the Moor's affections as he has easily captured their souls. In truth he confesses that loathe is is to show it, he too feels the tug of his heart but cannot decide for which his heart sings. Finally, in the last act of three scenes the Moor is confronted by the sisters who insist that he has captured them more surely than physical binding. He must choose between them and set them free of his bondage. He refuses to choose saying that his heart is enraptured and soul twisted betwixt by their virtues. His only choice is to set them free and determines to set them on his ship bound for their father in France. Alas, a ship never sunk sinks. The girls hold each other woeing their fate, if not for love they would live yet and be able to love afar. In the final scene, the Moor holds a missive, notice of the tragedy, sobbing, bemoaning his fate, swears never again to love, and falls upon his own sword.

• The Gambler

  Set in Modern day France, a rich merchant’s son named Jean Chretien comes to Paris to win his way into society. Rather than pursue an honorable profession such as the army, or the church, or commerce, he chooses to become one of those who live by gambling.

  Act I: Chretien arrives in Paris where he begins drinking at a tavern and begins to make friendly wagers with the others there. Major Glory of the Dowager Queen’s Fusiliers loses heavily to him, accuses him of cheating, but before honor can be satisfied, the Major must leave for the front, putting off the engagement until his return.

  Act II: Chretien takes his winnings to set himself up in grand style, including not one but two mistresses (Prudence and Chastity, played by Rhonda and Cheri respectively). Soon, he is circulating rumours that Major ran off rather than face him. He begins drinking heavily and while his social star rises, his funds begin to run out.

  ACT III: Determined to maintain his new found position, he takes to the tables at Frankwell’s, a gentlemen’s club of some repute. Winning handsomely, he believes his future is assured, until the final throw of the dice, in which he is bankrupted. Having lived on credit too long, he enlists rather than face debtor prison.

  ACT IV: At the front, Chretien makes a poor looking soldier, and in an enemy’s assault, finds himself pinned behind a few rocks along with a dozen other soldiers, including Major Glory. Determined to lead his men to safety, Major Glory creates a plan of diversion and retreat, and asks for a volunteer to stay with him to offer covering fire. The speech below entices Chretien to stay, the troops escape, Major Glory is taken prisoner, and Chretien dies.

  "Well, Gambler, how now? To stake a few crowns on the bones is a small matter. A toss either of two or twelve for mere gold makes no matter to a man. A hundred, two hundred, a thousand, ‘tis mere coin. Winning is sweet, and losing in bitterness, but in the end, sweet or bitter, it is all fleeting. Gold spent on wine, on women, on horses, all fleeting.

  "Here is a true gamble. One worthy of the word. A wager of your life for those of your fellows. The stake is life and honour. Win, and all is won. Lose and all is lost. Perhaps the dice are loaded for you, perhaps against you. Those Dutchmen there may not even know you throw the dice, nor care. But these men’s lives will answer for my throw. I make it gladly. And what of you?"

  The Gambler drew in record numbers to the Theatre Royal including the Crown Prince, and even though the books may show the venture as a financial loss it was surely profitable as far as the reputation of the French arts goes. Ironically, the same month saw the author, Michel Grognard, stand down as Director of the Theatre Royal to take up an appointment at the heart of government as Chancellor.

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