Venue: Paradis Latin
Address: 28, rue du Cardinal Lemoine, 75005 Paris
Town: Paris, FR

The Paradis Latin is a theater at number 28, rue du Cardinal Lemoine, in the Latin Quarter of Paris, in the fifth arrondissement, near Notre-Dame, the Panthéon, and the Tour d'Argent restaurant. The closest métro stations are Cardinal Lemoine and Jussieu. It was first built on the rue des Fosses-Saint-Victor in 1803 and called Théâtre Latin. It burned down in 1870, but was rebuilt on the rue du Cardinal Lemoine, as Paradis Latin in 1887-1889 by Gustave Eiffel. It was closed around 1900, but was rehabilitated, starting in 1973, and reopened, in 1977, as a cabaret. It is currently owned by businessman Walter Butler (French businessman). Paradis Latin goes back to 1802, when the First Consul Napoleon Bonaparte built the Latin Theater, on the rue des Fossés-Saint-Victor, and opened in 1803. In 1830, the Latin Theater became one of the highlights of the Parisian nights where artists, bourgeois, writers, poets, journalists, politicians, intellectuals, students, workers, merchants, aristocrats... Honoré de Balzac, Alexandre Dumas, Alexandre Dumas fils and Prosper Mérimée were regulars. It was destroyed by a fire during the Franco-Prussian War of 1870, when Prussian Chancellor Otto von Bismarck besieged Paris. Its ruins remained for 17 years. In 1887, during the preparation of the Paris Exhibition of 1889, Gustave Eiffel reconstructed the theater at the same time as his tower. The new hall was inaugurated on Sunday, January 20, 1889, under the name of Paradis Latin, and was a complete poster every night, presenting revues and ballets. The year of the Exposition was a happy year for the Parisian show with among others: the Mandrake, a very acclaimed piece whose heroine of the evening was Yvette Guilbert, immortalized by Toulouse Lautrec, who for several months was the star of the Song, and would become the interpreter of the composer Léon Xanrof. As a direct competitor to Paradis Latin, cafés-concerts, more numerous than ever, all gave the same stereotyped spectacle. There w