To return, however, to the days when the Alhambra was not a “music-hall” but a theatre, with the Lord Chamberlain’s licence, and was giving _opéra comique_ and _opéra bouffe_ as well as ballet. Charles Morton’s next production, in April, 1878, was another Offenbach revival, namely, “The Grand Duchess,” with Mlle. Cornélie d’Anka, Miss Rose Lee and J. D. Stoyle (“Jimmy” Stoyle), Pertoldi and T. de Gillert in the cast, M. Bertrand (by now engaged as “resident” ballet-master) introducing two ballets, one Hungarian and the other Bohemian. In the following June came the production of Von Suppé’s comic opera, “Fatinitza,” adapted by Henry S. Leigh, with the late Aynsley Cook, Miss Rose Lee, John J. Dallas and other popular stars in the cast. It was preceded by a farce, “Which is Which,” and followed by a “grand Indian” _ballet d’action_ by the late J. Albery, entitled “The Golden Wreath,” arranged by Bertrand, with music by Jacobi, and with Mlles. G. David, E. Pertoldi and T. de Gillert as dancers. It was, from all accounts, a very gorgeous production. Indeed, so successful was it that when Offenbach’s “Geneviève de Brabant” was staged in the autumn, this ballet was “still running.” The sensation of the following spring was the production of “La Poule aux Œufs d’Or,” a “new grand Spectacular and Musical _féerie_,” by MM. Denhery and Clairville, adapted to the English stage by Frank Hall, with a very strong cast including such well-known favourites as Constance Loseby, Emily Soldene, Clara Vesey, Violet Granville, the celebrated French duettists Bruet and Rivière, Aynsley Cook, E. Righton (“Teddy” Righton), with Pertoldi and de Gillert as leading _danseuses_. In the autumn came a revival of Offenbach’s “The Princess of Trebizonde,” with Miss Alice May, Miss Constance Loseby, Miss Emma Chambers, Mr. Charles Collette, Mr. Furneaux Cook, in the cast, the opera being followed by “Le Carnaval de Venise,” a ballet in which that fine, statuesque dancer and expressive mime, Mme. Malvina Cavallazi--later to become so great a favourite with the Empire’s audiences--was supported by Mlle. de Gillert and other Alhambra favourites, and for which, as in the case of many ballets at this period--the gorgeous costumes were from designs by Faustin. This was succeeded by Lecocq’s comic opera “La Petite Mademoiselle,” of which the English libretto was by Reece and Henry S. Leigh, a very brilliant cast including the late Fred Leslie, Harry Paulton, Constance Loseby, Emma Chambers and Alice May, the opera being preceded by a farce and followed by a ballet, “Carmen,” dances by Bertrand and music by Jacobi. On December 22nd, 1879, came the production of “Rothomago,” a “Grand, New, Christmas Fairy Spectacle,” arranged by H. B. Farnie from the French, in four acts and _seventeen tableaux_! It was the day of big adjectives and big productions.