[3] The restrictions on genre were lifted in 1864,[4] and the theatre began to present, not only comedies such as the farces of Georges Feydeau, but also more ambitious productions including operettas, the most famous of which was probably Offenbach's La Vie parisienne in 1866.

In 1780, desiring to live more privately with his new wife, Madame de Montesson, whom he had secretly married because she was a commoner, he transferred ownership of the palace to his son, Louis Philippe Joseph d'Orléans (at that time the Duke of Chartres).

The new puppet theatre gave its inaugural performance on 23 October and soon became popularly known as the Théâtre des Beaujolais, since this was the name usually given to sons of the House of Orléans before they became adults.

[7] The director of the theatre was Jean-Nicolas Gardeur, and, as puppet plays were falling out of fashion as adult entertainment, he soon realized he would need to modify the nature of his presentations.

Needing a theatre near the court's new location at the Palais des Tuileries, and learning of Delomel's situation, she swiftly used her royal connections to acquire his lease.

Delomel was evicted in January 1790, after which he transferred his troupe on 22 February to the Théâtre des Élèves de l'Opéra on the Boulevard du Temple, where eventually for lack of adequate receipts he was forced to close permanently on 7 March 1791.

Under the name Théâtre Montansier, the theatre in the Palais-Royal reopened on 12 April 1790 with the three-act comic opera Les Epoux mécontents (Gli sposi malcontenti) with music by Storace and a new libretto by Dubuisson.

[11] The theatre began presenting Italian operas in French translation, successfully competing with, and gaining the enmity of the Opéra which had been exiled at the suburban Théâtre de la Porte Saint-Martin since 1781.

[15] As the Revolution progressed, Montansier was anonymously accused in political pamphlets, called libelles, of debauchery in her relations with her lover and partner Honoré Bourdon de Neuville, and in her previous associations with Marie Antoinette.

In 1792 after the French declaration of war on Austria in April and the subsequent revelations of the Brunswick Manifesto in August, Montansier demonstrated her patriotism by outfitting a contingent of soldiers for the defense of France.

Later, when the French armies arrived in Brussels, Montansier set up a theatre to present patriotic and propagandistic entertainments, including revolutionary plays by Fabre d'Églantine, Joseph Laignelot, and Jean-Marie Collot d'Herbois.