In 1841, after a brief engagement at the Providence theatre, he returned to New York, and leased the rebuilt theatre corner of Leonard and Church streets, where his first appearance in New York had been made; brought on his Philadelphia company, and there established himself. This was April 13, 1841, and his first essay as manager in New York. He transported all the beautiful scenery of "The Naiad Queen," and reproduced the piece with gratifying success. But a dread fatality seemed to attend this temple of the drama. As, while under Wallack's management, it was destroyed by fire, so the same doom befell it under Burton. In the height of prosperity the building was again consumed, and with it the elaborate and splendid scenery of "The Naiad Queen." Of this calamity, F. C. Wemyss, in his "Theatrical Biography," remarks: "On this occasion a magnificent and extensive wardrobe, the property of Mr. Burton, was consumed, together with his private wardrobe, manuscripts, books, and other articles of considerable value. He was not insured to the amount of a dollar. The citizens of New York expressed their sympathy with the manager; and a complimentary benefit at the Park placed a handsome sum at his disposal." Undaunted by a disaster which would have utterly discouraged most men, Burton again sought Philadelphia, and after starring for a brief season leased the Chestnut Street Theatre for a fresh essay. There for a while he continued with good fortune, until better prospects invited him to Arch Street, where at last he located with a view to permanency. Meeting now with rich success, he determined to extend his sphere of operation, and added in turn to his lesseeship the Front Street Theatre, Baltimore, and the theatre in Washington; so that in 1845-6 he was guiding the destinies of three dramatic houses, distinguished for well-chosen companies and for the admirable manner in which the plays were mounted and cast. But again the fiat of destiny was written in words of flame. The Washington theatre, for the first time in many years, was handsomely rewarding its manager, when one night, during the performance, the scenery caught fire, and the building was burnt to the ground. The Baltimore theatre was continued; but the lion's share of attention was given to Arch Street, and there for several years Burton enjoyed a flow of prosperity; his fame increasing in public estimation; surprising and delighting all by his wonderful acting, and by the knowledge, taste, and liberality, with which he catered for his patrons. But New York was in the manager's thoughts and seemed to beckon him Northward. Perhaps Burton's prophetic gaze discerned in the great city a field that would respond to careful tillage, and that the rapid growth of the metropolis could not fail to give momentum to enterprise. Whatever the motive spring, the step was taken, and in 1848 the building known as Palmo's Opera-House became Burton's Theatre.