4)
Review: New York Herald, 03 June 1864, 4.
“This young lady, whose friends claim that she created a marked sensation in San Francisco, made her debut at Niblo’s Saloon last evening to a very small but very enthusiastic audience. Throughout the performance there was a most extraordinary medley. The shouts and stamps of the young gentlemen present were vehement, their loud praise of the artiste unceasing, and their condemnation of the lukewarmness of the New York public very frequent and severe. The young gentlemen in question informed those near them that in ‘Frisco,’ from whence they came, Miss Lotta could ‘cram the biggest theatre out.’ We sincerely hope so, as the young lady—the ‘fairy artiste,’ as she is termed in her bills—possesses undoubtedly a very extended and most versatile talent. She plays the banjo with great spirit, and dances a breakdown in such style as to cause the star of the champion in that line to pale. Added to which Miss Lotta possesses a quick and ready repartee, which she launches at her audience with infinite grace. She is very petite, but has a good figure, and, beyond all we ever saw, possesses any amount of aplomb—a graceful French word for the more vulgar English word, brass.
In the comedy Jenny Lind (Miss Lotta) appeared to less advantage than in her breakdowns, banjo playing and songs; still she was very successful, and the young gentlemen above referred to proved enthusiastic to the last, applauding with might and main, asserting that a show which was so popular in ‘Frisco’ must in the end obtain favor in New York. We do not doubt that such will be the result when Miss Lotta finds her proper sphere in the metropolis.”
6)
Review: New York Clipper, 11 June 1864, 70.
“’Lotta,’ the California Pet, made her metropolitan debut on the 1st inst. at Niblo’s Concert Saloon (623 Broadway). A small dramatic company was secured for the purpose of presenting comediettas and farces previous to the appearance of the ‘star.’ ’The Mysterious Chamber’ was given for the initial performance, after which Lotta appeared in several songs and dances, accompanying herself on the banjo. She was most enthusiastically received and her songs and dances were encored. The farce of ‘Jenny Lind’ was then given with Lotta as Jenny. The following night, the comedietta of ‘A Day After the Wedding’ . . . was performed. Lotta then appeared with a song, accompanying herself on the banjo. She was loudly encored and gave an Irish jig. . . . On the opening night attendance was quite small, but on the second evening there were a goodly number present, composed mainly of claquers, who had received a free ticket for the purpose of applauding the lady to the skies in everything she did. So apparent was this from the start, that the whole thing became a ridiculous farce, and tended more to damn the reputation of the lady than to do her good. When she first came on she was pelted with bouquets, and, to show how badly the thing was managed, the ushers were employed to throw them on. Sitting, as they did, pretty well down in front, they were seen by the whole audience. Everything was managed very badly, particularly the stage department. . . . Wrong scenes were run on, the stage was several times kept waiting, one or two of the actors had a little dialogue on their own account, and at times, confusion was worse confounded, for the voices of several behind the scenes were heard in no very elegant language. . . . [W]rong scenes were shoved on and then pulled back, and a kitchen-scene left for a chamber-scene, and, in a scene where Lotta is supposed to be having a good time to herself, the scene should quickly close, but nary a ‘flat’ was pushed on, notwithstanding Lotta was heard all over the house crying, ‘Change the scene,” and she was obliged to walk off the stage. Such bungling management as this was enough to damn any star. . . . The paying portion of the audience, we apprehend, was very small. . . . [I]f she had come out in any of our first class concert halls, she would have created a great sensation, and would have had all the managers of music halls in the country rushing to her for her services. She is possessed of great versatility, and plays the banjo equal to nine-tenths of the so-called first class banjoists at our music halls and in minstrel bands. She understands the instrument well, being ‘up’ in all its little tricks. She is possessed of a very musical voice, and gives a song, accompanying her self on the banjo, with much spirit. She can dance a regular breakdown in true burnt-cork style, and gives an Irish jig as well as we have ever seen it done. She has a very pleasing countenance, looks charming on the stage, is posted in all of the tricks of the business, and knows exceedingly how to put an audience in good humor. She would prove a valuable star to any music hall in the country.”
7)
Review: New York Clipper, 18 June 1864, 78.
“Little Lotta, the California favorite, we have heard nothing of since our last. This young lady’s appearances in New York were badly managed. It would have been better to have held over for a season instead of hurrying things in such a bungling manner, and bringing her out under such unfavorable surroundings. We don’t know where the blame lies.”
