"[3] As her celebrity grew, after her success in San Francisco, O'Neil embarked on an around-the-world tour, performing in Hawaii, Australia, Egypt, and in many other locations overseas.

The next day, back in the United States, The New York Times reported on that important performance in England, noting that in the early acts of the play O'Neil "gave an intense, imperious and unequal rendering of the part.

"[6] The newspaper, however, then added that the actress's "nervousness" later eased on stage and she "aroused the big audience to enthusiasm in the climax of the third act, and obtained a good reception.

"[6][7] Unfortunately, two other plays in which O'Neil also starred in London that same month—Camille and Elizabeth, Queen of England—were poorly received by English critics and forced her to terminate early her plans for additional engagements there in October 1902.

[8] The London Times wholly dismissed her company's presentation of Camille as "flauntingly, overwhelming provincial" and criticized her performance in Elizabeth, Queen of England as "lacking tenderness".

She also appeared in Trilby, Camille, The Common Standard, The Wanderer, Macbeth, Agnes, Sappho, The Passion Flower,[10] Hedda Gabler, and many other productions in the United States and Europe.

In 1908 a theater critic for The New York Times shared his opinions regarding O'Neil's acting talents, providing what he viewed as both the strengths and weaknesses of her performances:There is no actress on the stage at present who has a more remarkable gift for emotional expression, nor is there a single one who has been more lavishly endowed by nature with the physical gifts which enter into the equipment of great actresses....Miss O'Neil has a kind of massive beauty, and she is not without much natural grace.

[11]The statuesque[12] O'Neil performed in Louisville, Kentucky, opposite such actors as Wilton Lackaye, Edmund Breese, William Faversham, Thomas A.

Some of O'Neil's screen appearances in that period include performances in the 1930 features Ladies of Leisure, The Royal Bed, and The Rogue Song; in the 1931 releases Cimarron and Transgression; and in the 1932 medical drama False Faces, her final film.