A new, larger theatre with a capacity of 2,000 as compared to the earlier 1,250 was built nearby on the Boulevard Saint-Martin [fr] at its intersection with the rue de Bondy and opened the following year.

The variety and mix of these theatrical modes justified and explained changing the theatre's name, after only one year, from "Comédiens de bois" to "Ambigu-Comique" when Audinot substituted child-performers for marionettes.

Audinot saved the profits he made from shows and constructed a permanent theatre building on the Boulevard du Temple, which officially opened on 9 July 1769.

[3] The following April, Audinot added to his puppets with a few young children, who he trained up in the theatrical arts, and painted the motto "Sicut infantes audi nos" on the theatre's curtain.

A Conseil decision of 1771 (demanded by the Opéra) banned singing, dancing, and having more than four musicians aroused such emotion that it was revoked only a few days later, and Audinot took full advantage of the situation.

Not entirely released from the ties which had brought about his rise in the large theatres, from 1780 he had to pay the Opéra a fee for representation and to engage him but not use him, in producing ballets and lyric pieces borrowed for that scene, whose shows had at least ten years of publicity.

Being located on the Boulevard du Temple amongst several other successful theaters created a healthy competition and a spark that the Ambigu used to strive to achieve greatness.

In 1954, the comedian Christian Casadesus reopened the Théâtre de l'Ambigu, and plays were staged there once again,[6] by contemporary authors such as François Billetdoux and Roger Vitrac.