1890, she created the role of Kitty Carol in The Red Hussar in London and then in New York. She then toured the United States and Canada for a year with the J. C. Duff Comic Opera Company in operas including Carmen, Manon, Mignon, The Bohemian Girl and The Pirates of Penzance. She returned to Broadway for the next three years in numerous productions including The Tyrolean, The Fencing Master by Reginald De Koven and Harry B. Smith, and The Algerian. During this period she was considered one of the few rivals of Lillian Russell. An American critic wrote in 1894, "Miss Tempest combines a voice of extraordinary pitch and sweetness with the dramatic fervor of an emotional actress to a greater degree probably than any other prima donna now upon the English speaking stage". In 1895 George Edwardes brought her back to London to star in his Daly's Theatre productions, beginning with Adele in An Artist's Model, which ran for more than 400 performances. This was followed by title roles in the even more successful The Geisha (1896), which ran for 760 performances, A Greek Slave (1898) and another international hit, San Toy (1899). Tempest could be a difficult star, and her arguments with Edwardes and some of her colleagues were well known. She later said, "I was a self-important little baggage, who was more disliked than liked by managers in those days". She felt that Edwardes was too strict and finally left San Toy in 1900, reportedly over a quarrel about her costume. 1899 through World War I years In 1898 Tempest married again, to the actor-playwright Cosmo Gordon-Lennox (known professionally as Cosmo Stuart), the son of Lord Alexander Gordon-Lennox. On his advice, Tempest forsook operettas for straight comedy. In 1900 she created the role of Nell Gwynne in Anthony Hope's English Nell (based on Simon Dale) at the Prince of Wales's Theatre in London, followed at the same theatre in 1901 by the title roles in Peg Woffington by Charles Reade, and Becky Sharp, an adaptation of Vanity Fair, by Robert Hichens and her husband. The same year, she played Polly Eccles in T. W. Robertson's Caste, followed in 1902 by the title role in The Marriage of Kitty, also written by her husband. These established her as a leading comedy actress, particularly when playing the type of vivacious lady in drawing room comedies that Time called