In New York the chief purveyor of comic opera during the seventies was Maurice Grau, who had brought over Emily Soldene and Mme. Aimée and who continued to import European favorites, including the Offenbach operetta queen, Madame Théo. Rudolph Aronson, who had done some successful experimenting in concert direction, next came forward with an original scheme for a combined theatre, concert hall, restaurant, and roof garden--an American adaptation of such European institutions as the Ambassadeurs, Kroll's Garten, and the Volksgarten. With the backing of nearly all the socially and financially prominent gentlemen in New York he formed the New York Casino Company and built the Casino, a Mauresque structure which is as much in place on Broadway as Independence Hall would be in Algiers. With the operetta company of John A. McCaull, taken over from the Bijou Opera House, the Casino opened in October, 1882, presenting Johann Strauss's 'The Queen's Lace Handkerchief.' After a very successful run this operetta was taken off to make room for the Maurice Grau French Opera Company headed by Madame Théo, which gave _La Jolie Parfumeuse_, _Romeo et Juliette_, _Paul et Virginie_, _La Fille de Madame Angot_, and _La Mascotte_. The McCaull Opera Company, with Lillian Russell, then returned to the Casino, presenting 'The Sorcerer,' 'The Princess of Trebizond,' 'The Queen's Lace Handkerchief,' 'Prinz Methusalem,' 'The Beggar Student,' 'Merry War,' 'Polly,' 'Billie Taylor,' 'Nanon,' 'Amorita,' 'Gypsy Baron,' 'Erminie,' 'The Marquis,' 'Madelon,' 'Nadjy,' 'The Yeomen of the Guard,' 'The Brigands,' 'The Drum Major,' 'The Grand Duchess,' 'The Brazilian,' 'Madame Angot,' 'Poor Jonathan,' 'Apollo,' 'Indigo,' 'The Tyrolean,' _Cavalleria rusticana_, 'Uncle Celestin,' 'Child of Fortune,' 'The Vice-Admiral,' and 'The Rainmaker of Syria.' This company had become known in the meantime as the Casino Comic Opera Company. In 1886 it went on tour, playing Boston, Philadelphia, and Brooklyn, while the Casino was occupied by the Violet Cameron Opera Company from London. The latter presented 'The Commodore' and 'Kenilworth' with little success. In 1892 Mr. Aronson decided to change the policy of the Casino and to produce there lighter works of the best French and German operatic schools. While he was in Europe the directors of the Casino decided to turn the house into a music hall on the style of the Empire and the Alhambra in London.