The Théâtre des Folies-Marigny, a former Parisian theatre with a capacity of only 300 spectators, was built in 1848 by the City of Paris for a magician named Lacaze and was originally known as the Salle Lacaze. It was located at the east end of the Carré Marigny of the Champs-Élysées, close to the Avenue Marigny, but faced west toward the Cirque National on the other side of the square. In 1855 the Salle Lacaze became the home of Jacques Offenbach's Théâtre des Bouffes-Parisiens, where he first built his reputation as a theatre composer. It was subsequently used unsuccessfully by several companies until 1864, when it again became a profitable operetta theatre called the Folies-Marigny. When this company diminished in popularity, the theatre was closed. It was demolished in 1881 and replaced with the Panorama Marigny which was converted into the Théâtre Marigny in 1893. Salle Lacaze The first recorded entertainment use of the site dates to 1835, when a showman set up attractions at the Marigny junction. After the French Revolution of 1848 a small theatre called the Salle Lacaze was built for a magician named Lacaze. It was a summer theatre, and in it he presented "legerdemain and amusing physical representations." His theatre was also known as the Château d'Enfer (Castle of the Underworld). Lacaze began losing money, and sometime after 1852 he closed down. Bouffes-Parisiens In the spring of 1855 the composer Jacques Offenbach decided that the position of this modest wooden theatre was perfectly situated on the Carré Marigny to catch overspill traffic from the Universal Exposition of 1855; after some modifications to the site he opened the Théâtre des Bouffes-Parisiens on 5 July 1855. The theatre had a capacity of only 300 spectators. At the inaugural performance, Offenbach conducted four of his own works, the last of which was Les deux aveugles, a one-act bouffonerie musicale about two swindling "blind" Parisian beggars. This little piece soon acquired an international reputation due to visitors from the Exposition and due to some controversy over its subject matter. Another notable premiere that summer was Le violoneux. Further performances in the summer of 1855 were primarily of satirical sketches which only included a few musical numbers. The season, however, was so successful that Offenbach was able to resign his position as conductor of the Théâtre Français. This theatre was soon renamed Bouffes d'Été, as during the winter Offenbach directed