Between 1827 and 1859, dozens of musico-theatrical works featuring the devil appeared on the Parisian stage. Mostly forgotten today, this repertoire played an important role in the development of media technologies that lead to the emergence of film at the end of the century. The devil operated as a figure who both generated and critiqued theatrical spectacle. This dissertation examines these musical stage works in the context of their literary origins and considers how the medium of the stage offered new representational possibilities. By exploring adaptations of Goethe’s Faust, Cazotte’s Le diable amoureux, and the story of Robert le diable, this project not only sheds light on the technologies that made them stageable, but also demonstrates the potential for methodologies aligned with the digital humanities to elucidate this repertoire further.