In the year 1858, the Parisian composer Jacques Offenbach was, as usual, busy writing his next operetta and avoiding his creditors. He found it expedient to work in hotel rooms rather than at home, where he ran the risk of being cornered by bill collectors. Offenbach hoped that maybe, just maybe, one big box office success might clear his debts — and enable him to reupholster the tattered seats in his theater, Les Bouffes-Parisiens.

On today’s date in 1858, the audience in those tattered seats saw the premiere of Offenbach’s latest operetta: a farcical send-up of an old Greek myth. “Orpheus in the Underworld” was a modest success and ran well for several weeks.

But just as the production would normally be closing, an important Parisian music critic attended a performance, and was shocked, SHOCKED that Offenbach dared make fun of something so noble and edifying as Greek mythology. His outraged review generated a lively debate, especially when Offenbach slyly inserted direct quotes from the review into the operetta itself!

Suddenly “Orpheus in the Underworld” was the hottest ticket in Paris.

Box office revenue not only paid for new upholstery, but one tune from the show, an infectious ‘Infernal Galop” would, as M. Offenbach’s celebrated “Can-Can,” become a world-famous melody practically synonymous with Paris itself.