Maria Lloyd

Miss Lloyd's first three songs passed with rather light applause. Her entrance for each of these numbers was greeted with a larger demonstration than her exit, thanks to a pretty costume and quick change. But when she finished the "Spanish Burlesque" with its frankly naughty lyrics and its much naughtier "wriggles" the men of the audience came to the English woman's res- cue and whooped it up in a demand for more of the same sort. "Eh, What? What? What!" had the same effect and brought Miss Lloyd half a dozen bows.

The women of the Colonial audience where Maria Lloyd is playing her second week make it unmistakably plain that they do not approve of their English cousin and her naughty songs. They came to hear in numbers that filled the house to capacity and then some, but having satisfied their feminine curiosity permitted themselves the added luxury of b

But it was the masculine portion of the audience that did all the work. There were probably not more than half a dozen women in the house that applauded. All of which indicates that Miss Lloyd is not going to be the American success her sister Alice was. The middle class American woman is the public dictator in things theatrical, and she is not educated to the appreciation of "stag" humor such as Miss Lloyd's. The London favorite saves herself from downright vulgarity by her wholesome robustness of appearance and bearing, but New York will not take her to its heart as it has her sister.

Variety 10:3 (10/19/1907)