East 68th Street and then from the table to the theatre to see George Bernard Shaw's Getting Married. The next day Copeau accompanied Mrs. Kahn to the Metropolitan Museum. Sufficiently impressed by what he learned from Copeau and from others, on 19 February Kahn offered to Copeau the directorship of what was known as the Théâtre Français, the French-language theatre that had been languishing under the directorship of Etienne Bonheur. He offered to Copeau the Bijou Theatre, a new house that opened in April 1917. Copeau chose rather an older theatre, the Garrick Theatre on West 35th Street which housed the Théâtre Français, because he felt that with the proper renovations, among other considerations, it would better suit the unit set he had conceived with Jouvet. For the renovations, he hired a young Czech architect, Antonin Raymond, whose modernist concepts coincided well with his ideas of stagecraft. From March through April he delivered some dozen lectures on topics such as Dramatic Art and the theatre Industry, The Renewal of Stagecraft, and The Spirit in the Little Theatres. When the inauguration of the Théâtre Français de New York took place at the Metropolitan Opera on 17 May 1917, Copeau had negotiated a generous contract with Otto Kahn and the board of directors and was ready to return to Paris with a letter of credit for $18,000 to cover the costs of preparation for the season in New York City. The summer in Paris proved to be a busy one: the repertoire for the coming season needed to be chosen; costumes, assembled; and his troupe, reconstituted. The latter proved a daunting task. Jouvet was finally given leave from his duties at the Front, but the authorities refused to release Dullin. Jouvet constructed a model set, given the dimensions of the stage area at the Garrick while in New York the young Antonin Raymond battled with the Shubert brothers and their architect over the renovations to the theatre. With the intervention of Kahn, who footed the bill, and Mrs. Philip Lydig, who was overlooking many of the decorative details of the hall itself, the old Garrick finally started to take shape. Jouvet, who knew that the design of the stage was essential to the success of the repertory that Copeau projected, left France in early October to oversee the final preparations of the stage. When the troupe arrived in New York on 11