Wallack’s Theatre

“Mr. Dan Bryant, after a long and reasonably successful season at Wallack’s has made way for a new claimant on the favor of the frequenters of that theatre, Mlle. Lotta , who made her first appearance last evening. She Selected the ‘Pet of the Petticoats’ and ‘Family Jars,’ as the pieces in which to display her peculiar style of acting, taking the part of Paul in the former and of Liddy Larrigan in the latter. An attractive although not very impressive presence, an arch expression, and a pert and lively manner, at once won the attention of the audience and held it to the close of the performance. As an actress she does not call for criticism. She will, however, become a general favorite, and is likely to draw good houses for a considerable season.”

“Falstaff desired ‘a commodity of good names.’ The critic of Miss Lotta will naturally desire a commodity of good similes. To call her a canary-bird is to come pretty night the fact. To call her a sunbeam is also to be accurate. But neither simile is quite definite. Miss Lotta is a merry little creature, who, apparently, can no more help romping than a woodland brook can help murmuring as it flows, or a cataract can help sparkling in the sunshine. If we liken her to a kitten, that tries its pranks with everything, and is never weary, we shall not be far wrong. This sort of personality is always charming. Most people love the sunshine, and like to see the kitten at play; and, therefore, Miss Lotta is certain to win a certain favor and applause. But, apart from this vivacious personality, we find Miss Lotta’s claims upon critical approbation to be somewhat slender. We cannot judge definitely, without seeing her in a series of characters, but, as Paul, in ‘The Pet of the Petticoats,’ and Leddy, in ‘Family Jars’--the characters that she assumed last evening at Wallack’s Theater--she manifested no conspicuous talent as an actress.  There was more real ability evinced in the first personation than in the last; but Miss Lotta’s audience, which was very large and very enthusiastic, manifested especial pleasure with the latter. In this there were suggestions of the concert hall. Miss Lotta performs skillfully upon the banjo, and is a good burlesque dancer.  There is no doubt that she will achieve a popular success here, as she has done elsewhere; but there is a distinct difference between captivating, that passive taste which easily applauds and as easily forgets, and that critical taste which, in the end, sets the seal of performance upon success in art.  We have great hopes of Miss Lotta, from what we have seen of her acting, but she can only take a really high position, by discarding the banjo and all that appertains to the concert-hall style of entertainment, and pursuing nature . . . .”

“The dramatic novelty of the week is Mlle. Lotta, who made her appearance at Wallack’s on Monday evening, and has at once won a success. Not as an artist, however, for there are few who will claim for the attractive young comedian any special gift in the way of acting, but because her manner and appearance win a kindly favor and interest rarely excited by an actress of so little talent. The manager has wisely consulted the season for bringing out the new favorite, at a time when people are not exigeant in their demands for the higher manifestations of dramatic talent, and simply want to be pleased. Mlle. Lotta will continue to appear in ‘Pet of the Petticoats’ and ‘Family Jars’ all the present week, at least.”

“LOTTA commenced an engagement at Wallack’s Theatre on July 29^th, appearing in Buckstone’s three-act comedy of ‘Pet of the Petticoats’ and the farce of ‘Family Jars.’ The house was densely crowded by one of the most enthusiastic audiences seen in this city for a long time. Lotta originally made her debut in this city at Niblo’s Saloon, June 1^st, 1864, appearing in the farce of ‘Jenny Lind,’ with jig dancing and banjo solos. Owing to the ‘saloon’ not being a popular place, and the company engaged to support her being rather weak, the lady did not make a very favorable impression. On this, her second appearance in the metropolis, everything was different. Having appeared in nearly all of the principal cities in the country with marked success, she returns to New York a much better actress than when she left, and appears at a first-class theatre, supported by a good stock company. From the moment she bounded upon the stage she captivated and won the good will of her audience; and, when she made her first exit, a tribute of the loudest and most unanimous applause followed her. This was renewed throughout her performance, and, at the fall of the curtain, she was summoned before it to receive the congratulations of the assemblage. She plays the banjo remarkably well, in fact, equal to a majority of minstrel performers who make banjo playing a specialty.  Her singing of ‘Mickey is Gone Away’ was very well done, and she dances a better jig than any other actress we ever saw.  Her jig was encored four times, as was her song of ‘Mickey.’  She was also compelled to repeat her banjo solo several times.  She made the greatest hit that has been made in this city by any actress for a long time. . . .”