the next ten years Réjane appeared at six or more Paris theatres, in an exceptionally wide variety of plays, from new works by Edmond Gondinet (Clara Soleil, 1885), Meilhac (Les demoiselles Clochart, 1886, and Ma cousine, 1890), Victorien Sardou (Marquise, 1889) and Edmond Haraucourt (Shylock, 1889), to revivals of classics by Beaumarchais (Le mariage de Figaro, 1889), Dumas (La Demi-Monde, 1890) and Aristophanes (Lysistrata, 1892). She continually showed the range of her abilities as an actress: in 1887 in Allô-Allô she played a scene grappling with the difficulties of the new-fangled telephone, which, Meunier recalled, was so funny "that from the gallery to the stalls the theatre was one roar of laughter and applause". In the following year she appeared at the Odéon in a stage adaptation of Germinie Lacerteux by the Goncourt brothers. The actor and director André Antoine described her performance: Among those who saw the performance was Marcel Proust who became a devoted admirer, and later friend; his character Berma, the great actress in À la recherche du temps perdu, is partly based on Réjane. In 1893 Réjane married Paul Porel, director of the Vaudeville; they had two children – Germaine and Jacques. She appeared at the Vaudeville in a series of successful plays; two of the earliest productions demonstrated her range. In October 1893 she created the role with which she was most closely associated during the rest of her career: Catherine, the outspoken washerwoman-duchess in Sardou and Moreau's historical comedy-drama Madame Sans-Gêne. The critical and public response was enthusiastic. In Le Figaro, Henry Fouquier judged that Réjane had turned an artificial character into something delicious, feminine and overwhelming. Another reviewer wrote: Six months later Réjane played Nora in the French premiere of Henrik Ibsen's A Doll's House ("Une maison de poupée"). Ibsen had never succeeded with Parisian audiences until now, but to his delight the production was a triumph. Les annales du théâtre et de la musique recorded, "Nora's role is overwhelming; Mademoiselle Réjane took the opportunity of one of the greatest successes of her career. She was able to highlight the very complex character of the role, and with a rare simplicity of means she demonstrated in the famous tarantella scene an admirable dramatic power. Needless to say, it was acclaimed". Another contemporary critic wrote: London and New York In 1894 Réjane returned to the West End. Since her first appearance there, in 1877,