“Asmodeus”; “Zanetta” followed, bringing us to June, 1890, and these too, were notable for some gorgeous stage effects which drew “all London,” and for the dancing of principals such as the two already mentioned, and of Mme. Cormani, Signorina Legnani, Signorina Bessone, Mme. Roffey and Signor de Vicenti, the last named being for many years associated with the Alhambra productions. “Salandra,” given for the first time on June 23rd, 1890, was a remarkably fine production, and with the late Charles Morton as Acting Manager, Vernon Dowsett as Stage Manager, Mr. T. E. Ryan for Scenic Artist, Signor Casati as _maître de ballet_, M. and Mme. Alias responsible for the costumes; and a superb orchestra of fifty instrumentalists under Mons. G. Jacobi, the Alhambra’s new era of growing prosperity was now assured. The ballet was in five tableaux, and involved some striking changes of scene. The heroine, Salandra (Signorina Legnani) was a Gipsy Queen, and the opening scene introduced various Tzigane dances. There was an exciting wrestling match, and a lively hunting dance in the third tableau; a charming fair scene in the last, and the whole production exhibited to the full those characteristics of brightness, efficiency of performance, and splendour of stage effect, which were long to mark the Alhambra as a house of distinction and one high in popular favour. For Christmas of that year “The Sleeping Beauty” proved attractive, and was followed in 1891, by “On the Roofs,” a “pantomime ballet” by the famous Lauri troupe. “Oriella,” a new fantastic ballet--described as “the most beautiful of all” then produced at the Alhambra--followed; then a musical pantomime by Charles Lauri, “The Sculptor and the Poodle”; then a comic ballet, “The Sioux,” by Charles Lauri and his troupe, with music by Mr. Walter Slaughter; and in September, 1892, came “Up the River,” a very popular production invented by the late John Hollingshead (who was now Manager) in which the rural and riverside scenery by Mr. T. E. Ryan was very much admired; the scenic effects--including a remarkable storm--being admirably managed; the ballet capitally performed; and M. Jacobi’s flowing and richly orchestrated music proving better than ever. “Temptation,” a “new, grand fantastic ballet, in three tableaux,” invented and arranged by Signor Carlo Coppi, with scenery by Ryan, and music by M. Jacobi, was a big and very successful production, in which a Signorina Elia, as _première_, made a hit.