The Café-Concert as an object of study has tended to attract the interest of art rather than theatre historians, despite the fact that it was the major form of popular entertainment in France during the nineteenth century. Similar but not identical to the English music hall of the same period, the Café-Concert produced a number of stars of national importance, a large majority of whom were women. Through the writings of journalists and commentators of the period, this article explores how these female performers were perceived and constructed as objects of the public gaze. The author, Geraldine Harris, is a Lecturer in Theatre Studies at the University of Lancaster, with interests in both popular and feminist theatre.