[2] She called her approach "spherical dance", involving turning and extending the torso, arms, and legs on a horizontal axis, unlike the more vertical rotations of her contemporaries Isadora Duncan and Ruth St Denis, who were also admired at that time in Vienna.

[4] The cultural historian Alys X. George said that this transformation of the Viennese waltz from ballroom standard to an outdoor avant-garde art form electrified the city.

[2][5] They toured both in Germany and internationally, taking their dance to Munich (Artist's Theatre, 1909)[2] London (Hippodrome 1909),[4] Paris (Théâtre du Vaudeville),[2] and New York (1912, Winter Theater) where they were warmly received.

[4] She choreographed and appeared in the title role of the 1910 pantomime play Sumurun at the Berlin Kammerspiel theatre, directed by Max Reinhardt with script by Friedrich Freksa [de]; a more elaborate production travelled to London in 1911 and New York in 1912.

However the leading ballerina Jolantha Seyfried [de], who danced Wiesenthal's works in the late 20th century, noted that the tiny movements were less well-suited to the large stage of the Vienna State Opera.

[4] In 1912–1914, she was the leading dancer in the three "Grete Wiesenthal Series" films, Kadra Sâfa, Erlkönigs Tochter, and Die goldne Fliege.

[2] In 1938, she helped Jewish friends, including the dancer Lily Calderon-Spitz, travel to Britain to escape the Nazi persecution.