In each of the new Gilbert and Sullivan operas, Bond's roles continued to grow larger and more challenging, until with Margaret, Phœbe, and Tessa in The Gondoliers (1889–91), Bond's roles were at least as important as any other female role. By the time The Gondoliers was in preparation, Gilbert felt that his regular principal cast members were becoming too demanding and that the precision and style of D'Oyly Carte productions could be maintained only if there were no "stars".
As the new Gilbert and Sullivan operas progressed, Bond's roles became increasingly substantial and intricate, to the point where with Margaret, Phœbe, and Tessa in The Gondoliers (1889–91), Bond's parts rivaled those of any other female role. By the time The Gondoliers was being planned, Gilbert believed that his regular leading cast members were becoming too burdensome and that the exactness and elegance of D'Oyly Carte productions could be preserved only if there were no prominent performers.