The Coachman is most famous for the scene in which Morille, in disguise as a coachman, is confronted by an unknown woman disguised as his wife. The resources of Poisson’s performance style are fully exploited, from the first eye rollings of alarmed surprise to leers and the gestures of lecherously roving hands, as the all-too-willing Hilaire directs the scene he himself sets in the privacy of a cabinet in his comfortably appointed house and Morille’s reactions from physical alarm to concupiscent promise.