Manuel Bretón de los Herreros recalled the years 1820–3 as years of “decadence” for Spanish theatre and viewed Grimaldi as a true savior of the theatre. “Under the direction of Mr. Grimaldi,” he wrote, “the work of Máiquez was completed, abuses and habits that were still obstacles were eradicated, and stage art reached its highest point.” This fundamental renovation took years to accomplish, but in his first year as impresario, Grimaldi made a number of significant changes which he would continue to build upon throughout the next decade and beyond.

Grimaldi Impresario: 1823–4

What did Grimaldi inherit along with his new title, “impresario”? Why did he take this bold step into an area in which he had no experience? Why did he consider the theatre an endeavor in which he should invest his administrative skills and money? Where did he get the money to invest? Besides a risky financial investment, contentious and undertrained actors and a limited (and censored) repertory of plays to perform, he received two buildings which were decrepit and uncomfortable and which contained a grab bag of painted curtains, sets and props. “The poor state of the costumes, decorations and stage equipment at that time… would hardly be believable to anyone who has not witnessed it,” commented a contemporary theatregoer, Dionisio Chaulié.