Gilbert and Sullivan ancestor and the device of the ghostly ancestors stepping out of their portraits. When "Ruddigore" closed, no new opera was ready. Gilbert again proposed a version of the "lozenge" plot for their next opera, and Sullivan reiterated his reluctance to set it. While the two men worked out their artistic differences, and Sullivan finished other obligations, Carte produced revivals of such old favourites as "H.M.S. Pinafore", "The Pirates of Penzance", and "The Mikado". "The Yeomen of the Guard" (1888), their only joint work with a serious ending, concerns a pair of strolling players—a jester and a singing girl—who are caught
Gilbert and Sullivan outright failure. Neither work entered the canon of regularly performed Gilbert and Sullivan works until the D'Oyly Carte Opera Company made the first complete professional recordings of the two operas in the 1970s. Gilbert had also offered Sullivan another libretto, "His Excellency" (1894), but Gilbert's insistence on casting Nancy McIntosh, his protege from "Utopia", led to Sullivan's refusal, and "His Excellency" was instead composed by F. Osmond Carr. Meanwhile, the Savoy Theatre continued to revive the Gilbert and Sullivan operas, in between new pieces, and D'Oyly Carte touring companies also played them in repertory. After "The Grand Duke", the partners