Other examples include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Ruy Blas and the Blase Roue (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891) and Don Juan (1892, with lyrics by Adrian Ross).

Edwardes expanded the burlesque format from often one-act to full-length pieces, with original music by Lutz instead of scores compiled from popular tunes, and choreography by the theatre's dance-master, John D'Auban.

The following plot summary was printed in The Theatre in December 1888: It might have been thought that Goethe's legend was too hackneyed a subject to afford scope for a new version; but Messrs. Sims and Pettitt have contrived to introduce into it fresh elements of fun, without so far departing from the original story as to make it unrecognisable.

We have Old Faust longing for love and youth, and the appearance of Mephistopheles, who summons a vision of Marguerite, engaged as a fascinating barmaid at the Italian Exhibition at Nuremberg.

On the opening night it was noticed with regret that full advantage had not been taken of the exquisite voice Miss St. John possesses; but since then, in addition to the numbers, "A simple little maid", and "Fond heart, oh, tell me why," two other ballads have been added, and it need hardly be said that all are charmingly sung.

... As usual, Mr. George Edwardes has spared no expense in the production, to which Mr. Charles Harris has contributed his accustomed skill, and Faust up to Date will certainly fill the Gaiety for many a night to come.

"[12] The Morning Post called the piece a great success, and particularly singled out "a sort of grotesque petticoat quadrille, danced by four danseuses, and encored uproariously.

[13] Referring to the absence of Nellie Farren, the theatre's usual "principal boy", and Fred Leslie, its usual star comedian,[14] who were in America, The Era commented, "There is no disguising the fact that the absence of the principal members of the Gaiety troupe is appreciably felt"; the paper expressed reservations about the piece and some of the cast, but acknowledged that the Gaiety audience had shown great enthusiasm for the piece and the players.