Other examples include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr (1886), Miss Esmeralda (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), and Don Juan (1892, with lyrics by Adrian Ross).
Other examples include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Little Jack Sheppard (1885), Monte Cristo Jr (1886), Pretty Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), and Cinder Ellen up too Late (1891).
After two years alternating between the Haymarket and touring the provinces, first with Ellen Terry and then with Mrs Scott-Siddons, he reappeared on February 1882 at the Court Theatre as the Revd Mr Jones in Dion Boucicault's adaptation of My Little Girl and as Mr Justice Bunby in F. C. Burnand's farce The Manager.
She first starred in F. C. Burnand and Meyer Lutz's operatic burlesque of Bluebeard, which had opened in London earlier that year.
He later created the part of Adam in F. C. Burnand and R. C. Lehmann's His Majesty (1897; appearing briefly as King Ferdinand when George Grossmith abandoned the part, until Henry Lytton took over).
He continued to write such small-scale pieces over the following couple of years, both for the Savoy (Mr. Jericho in 1893 and Old Sarah in 1897) and for the Lyric Theatre, where Horace Sedger asked him to supply the English lyrics to F. C. Burnand's adaptation of the French operetta Le Coeur et la main (Incognita).
In addition to comic classics like The Beggar's Opera, the Reeds usually presented new works by English writers such as F. C. Burnand, W.S. Gilbert, William Brough and Gilbert à Beckett.