High in the ranks of women low comedians who have been graduated from the variety theatre into musical comedy and extravaganza, is Maud Raymond, who fairly shares the honors with the Rogers Brothers in their popular vaudevilles. It would be unfair to call Miss Raymond an actress, for she does not aspire to be anything more than a delightful entertainer, whose unusual mimetic gifts and whose real or assumed sense of humor led her to adopt as the most natural thing imaginable the serious calling of making the world laugh. With her marked individuality, Miss Raymond drifted as a matter of course into character impersonation. In the days when she entered the varieties three distinct types of low-comedy characterizations were recognized--the Irish, the Dutch, and the negro. The first two were genuine burlesques, while the last named was the familiar minstrel type,--a great deal of burnt cork and an insignificant amount of genuine negro. Miss Raymond selected the Dutch type. Whether she was the first woman to attempt a Dutch character sketch, I do not know, but I am willing to risk the statement that she was the best one. An amazingly grotesque figure she presented, with her figure built on the lines of a meal sack with a string tied around the middle, and her huge sabots that clattered noisily every step she took. Her face was a study in ponderous stupidity, and her movements were slow and unwieldy. Yet, with all its grotesqueness, its mammoth exaggerations, there was human nature in the sketch and rich, full-blooded humor, the brutal, coarse humor of the soil, humor that had not been refined into flavorless delicacy nor polished into insipidness for the moral salvation of too easily shocked tenderlings. When the "coon" craze struck the stage, Miss Raymond was among the first to take that up, and she has clung faithfully to it ever since. Like all her work, her interpretation of the modern "coon" song is all her own. She does not reproduce so fantastically as some others the antics of the swell cake-walker, but she infuses into her work a rich humor that is infectious. In this one particular she resembles closely Miss May Irwin. May Irwin's "coon," however, is the Southern "mammy" type, while Maud Raymond's is of Northern city birth and training. In this aspect of her "coon" art, Miss Raymond seems nearer the progenitor of the up-to-date stage negro, who was, of course, the "nigger" minstrel of a number of decades ago.