The next show that Edwardes produced at the Gaiety was "Dorothy" (1886), a comic opera similar to the Gilbert and Sullivan operas that he had produced for Carte, but the Gaiety's audiences were used to burlesques, and so Edwardes sold the rights to "Dorothy", which became a hit at another theatre. Following on the success of "Little Jack Sheppard", Edwardes turned the Gaiety back to producing burlesques, but these were "new burlesques": full-length pieces with original music by Meyer Lutz, instead of scores compiled from popular tunes. These included "Monte Cristo, Junior" (1887), "Miss Esmeralda" (1887), "Frankenstein, or The Vampire's Victim" (1887), "Faust up to Date" (1888), "Ruy Blas and the Blasé Roué" (1889), "Carmen up to Data" (1890), "Cinder Ellen up too Late" (1891), and "Don Juan" (1892, with music by Meyer Lutz, book by Fred Leslie and lyrics by Adrian Ross). John D'Auban choreographed the Gaiety burlesques until 1891. These new burlesques were very successful and toured widely in Britain and abroad. However, "Dorothy"'s runaway success (it became the longest-running piece in musical theatre history up to that time) showed Edwardes and other producers that topical, light comedies could be enormously successful. At the same time, the death of Fred Leslie and retirement of Nellie Farren by 1892 helped bring to an end the era of Gaiety burlesque.