The dramatic writings of Alexandre Dumas père, long absent from publishers' booklists and often granted little more than la portion congrue (an extremely small place) in critical assessments of his literary corpus, seem today to be experiencing something of a renaissance. To be sure, the extent of contemporary interest in Dumas's plays is modest at best and scarcely apparent on theater playbills. Still, new editions of Antony (1831; translated, 1880), Don Juan de Maraña; ou La Chute d'un ange (1836), Les Mousquetaires (The Musketeers, 1845), La Jeunesse des Mousquetaires (The Musketeers' Early Years, 1849), and L'invitation à la valse (Invitation to the Waltz, 1857) as well as the first editions of La Cour du Roi Pétaud (The Court of King Pétaud, 1994) and Le Fils de l'émigré (The Emigrant's Son, 1995) are currently available in French bookstores. So, too, are the slowly emerging fascicles of...