New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-03
At THE VARIETIES
Kathryn Kidder Again Seen as
Nine. Sans Gene.
"CISSIE" LOTUS WITH US
Mimic Is at the Colonial
Theatre in a Series of
New limitations.

Nine. Sans Gene" the fictitious wash
erwoman who became a duchess during
the ascendancy of Napoleon as Emperor
OF the French. was a familiar figure on
our stage few years ago. At the same
time Kathryn I<idder, who originated the
role in this country, was accounted one of
our most talented actresses. Then Miss
Kidder deserted the stage for private life,
and the pleasing comedy of Nictorien
Sardou was relegated to the stock houses.
Yesterday both reappeared on Broad
way, when Miss Kidder presented at the
Union Square Theatre a sketch called
''The Washerwoman Duchess"
IN the new sketch Miss I<idder is seen
as the commoner become duchess. fight
ing against the jealousy of her husband
and Of Napoleon to Illustrate the plans Of
those enemies who are working to dis
credit the Empress Josephine in the eyes
of the Emperor. Those who recall the
early play and the sharp wit of the wom-
an do not need to be assured Of her tri-
umph over the green-eyed monster which
I is devouring Napoleon and Of her humor
in the accomplishment. Miss Kiddor's alb
sence from the stage, a matter Of several
years. seems TO have made little differ
ence In the appearance. of her duchess or
in her sprightiness OF temperament.
A second sketch on the bill. What Hap
pened in Room A." narrowly escaped de-
stroying the good effect made by the re-
naming numbers. A clever idea of
confidence woman who inveigles money
Z diY,cy
to contemplate suicide is virtually ruined
by the acute case of overacting INDUCED
in by Ruth Raynor as the woman.
For the remainder Of the bill, uniform
goodness is secured by the Gene Muller
Trio hoop rollers; Adelne Francis, the
"Graphophone Girl; Stepp. Altman and
King; Linden BecSwith in songs, Jim
Diamond and Sibyl Brennan, Cliff Gordon
in his monologue and the Apollo Trio.
There are two modern schools Of art.
One attempts to catch the spirit OF a
scene and transfer Il TO canvas; the other
reproduces in Photographic fashion every
detail. Cecilia LOTUS is a stage artist of
the latter sort. The very fact that she is
may explain, at least in the minds Of
some. why she is a mimic and not a great
actress.
Miss LOTUS is beginning a new season
of her limitations in this country, having
made her first appearance at the Colonial
Theatre yesterday afternoon. She began
limitations with one of Nora Bayes sing
ing Since Mother Was a Girl" and fol-
lowing that, in turn, with representations
of Florence Nash in within the Law"
Billie Burke singing Mind the Paint
Mrs. Fiske in The High Road Ray
Samuels in the "Ziegfeld Follies." Jane
Cowl in within the Law" and Maud
Allen dancing the Dance OF the Gnomes.'
from Griegs Peer Gynt' suite.
In all these approximations Miss Lotus
succeeds in catching to remarkable de-
gree the characteristics of the actresses
concerned. She reproduces the minutest
details of voice. giving virtually a photo
graph Of the character. The impression
she makes on her auditors is one Of mar
there is distinct sense of disappoint
ment because the mimic has not painted
her portraits with broader strokes-even
caricatured them to a degree. More Of
the spirit Of the actress portrayed and
less Of the exact duplication would make
| for a broader effect Of true histrionic art.
! As her associates on the bill Miss Lof
| tus has several clever people, headed by
| William Rock and Maude Fulton. in their
dances.