Subsequently the company was reorganized and, at the suggestion of Colonel Henry Watterson, was christened 'The Bostonians.' Under its new name the company lived for twenty-five years, surviving by considerable length the popularity of comic opera in America. Among the works it produced were 'The Poachers,' 'Dorothy,' _Don Pasquale_, _Don Quixote_, _Mignon_, 'Pygmalion and Galatea,' 'Robin Hood,' 'The Knickerbockers,' 'The Ogalallas,' 'Prince Ananias,' 'In Mexico, or a War-time Wedding,' 'The Serenade,' 'Rip Van Winkle,' 'Maid Marian,' 'Rob Roy,' 'Vice Roy,' 'The Smugglers,' 'Maid of Plymouth,' and 'Queen of Laughter.' Of these the most successful by far was De Koven's 'Robin Hood,' which the Bostonians played for twelve years without dimming the freshness of that most delightful of American light operas. Not the least valuable of the services rendered to music by the Bostonians was the opportunity they gave to young American singers. 'The Bostonians,' said Henry Clay Barnabee, 'gave the United States the most successful school for operatic study that this country has ever had, and from its ranks graduated an astonishing number of well-known singers. No other organization has done more, if as much, toward assisting American writers of opera.' A list of the well-known graduates of the Bostonians would be too long to quote, but among the familiar names may be mentioned Marie Stone, Alice Nielsen, Grace Van Studdiford, Jessie Bartlett Davis, Marcia Van Dresser, Kate Condon, Tom Karl, Joseph Sheehan, George B. Frothingham, Eugene Cowles, Allan Hinckley, and W. H. MacDonald, besides the inimitable comedian--Barnabee. The company, of course, devoted its efforts largely to Boston, New York, and other Eastern cities, but it made frequent tours west of the Mississippi, playing every city of importance between that river and the Pacific Coast.