Theatre Magazine Review - April 1909
Performance - Criterion Theatre, New York 1 March 1909
It is only necessary to read between the lines to determine that the Gallic original of "The Richest Girl" had a naughty sparkling, significance. Paul Gavault, the original author, writes in that strain. In view of the present craze of the purification of the stage, it is not surprising that its adapter, Mr. Michael Morton, has eliminated all that might be termed objectionable. Mr. Morton has done more than that. He has rendered into English as stale, flat and unprofitable a farce as the local stage has suffered from in a decade. This piece, in four acts, which now holds the boards at the Criterion, is without exception footless, feeble and futile. Nor is its rendering a whit better than the material. A poor farce may be improved by spirited action. The treatment wich "The Richest Girl" receives from the star would crush out the brilliancy from the most sparkling of comedies. The spoiled daughter of a chocolate millionaire intrudes through the agency of an automobile accident on the vacation of a departmental clerk and his friend. Her unconventional and inconvenient idiosyncracies cause the clerk to lose not only his job but his fiancee as well. Of course in the end the matter is righted, as the daughter of millions takes him as her husband. Not much to spread out over four acts, especially as the dialogue is about as inconsequential as an essay on the weather. There may be good reason why Miss Doro should be raised to stellar heights. It is unfortunate that she does not demonstrate them more forcibly in her interpretation of Benjamine Monnier. When one has youth and beauty, it is too bad to spoil them with an affectation that might even cause envy in Edna May. The program announces that Orin Johnson is "specially engaged" to play Paul Normand, the hero. Why, it would be difficult to discover. It was a colourless and heavy rendering which he gave of the role.................................
Performance: Apollo Theatre, Atlantic City, New Jersey, 26 October 1911
Review: - New York Times
MARIE DORO IN NEW ROLE
Acts a frivolous young wife in "A Butterfly on the Wheel"
Miss Doro presented "A Butterfly on the Wheel" at the Apollo Theatre tonight for the first time in America.The big scene of the play shows a divorce court in session with the woman in the case undergoing a gruelling cross-examination.
Miss Doro acted the flighty, frivolous young woman whose flirtation with her husband's friend gets her into so compromising a situation that her husband sues for a divorce. In several scenes she is called upon to express deep emotion.
Performance :- Plymouth Theatre, N.Y.C. - November 5 1917
Review (excerpt): New York Times
"By some magic, her girlish prettiness and charm have been touched with the flame of a real beauty, a beauty that is of the inward spirit. Her lips frame the style of a madonna, and her starlike eyes float in a heaven of the tenderest womanhood. Inexpert as the play is, verging at times on the preposterous and the derisible, the central character and situation have the rich gift of inspiration, and Miss Doro touches them everywhere with an art that is as compelling as it is exquisite and unaffected. Part and performance blend into a mood of poetic beauty so rare as to be in fact unique. One searches the memory in vain for a parallel."