The production included state-of-the-art special effects, including a pantomime-style transformation scene that converted a rocky grotto into a fairyland throne room in full view of the audience. The cast included Annie Kemp Bowler, Charles H. Morton, John W. Blaisdell, E. B. Holmes, Rose Morton, Millie Cavendish, J. G. Burnett, and George C. Boniface. The poster announced with great emphasis the presence of a French "Ballet Troupe of Seventy Ladies" choreographed by David Costa. This scantily-clad female dancing chorus in skin-colored tights was a big draw. It was respectable enough for the middle-class audience, but very daring and controversial enough to attract a great deal of press attention. The dance soloists were two Italian ballerinas from the school of Teatro alla Scala of Milan, Marie Bonfanti and Rita Sangalli, who went on to star in further New York productions. The musical was then toured extensively for decades by Barras and others licensed by him and revived on Broadway in 1870–71, 1871–72, and by The Kiralfy Brothers at Niblo's in 1873; and many more times after that; it also had numerous profitable regional productions and was widely burlesqued. One of these, in 1882, was the opening-night attraction at O'Brien's Opera House in Birmingham, Alabama.