Among many Broadway productions, his portrayal of Fabius Maximus for Robert E. Sherwood's historical satire The Road to Rome was his longest running role at 396 performances.

[4] Ling would continue with the Carl Rosa Opera Company, playing the role of Rufino in Paul Jones, at venues throughout England and Scotland during 1889,[5][6] up through June 1890.

[10] The New York Times reported in late August 1891 that Richie Ling was sailing on RMS Aurania, having been signed by Rudolph Aronson for an engagement at the Casino Theatre.

[14] Following five months of occasional recitals, Ling joined the King's Opera Comique Company in Philadelphia, where he was cast for the role of Arthur in Falka,[15] and Symon Symonovici in The Beggar Student.

[17] During late April 1893 he joined the O'Neill Grand and Comic Opera Company for a tour of the southeastern United States,[18] which collapsed in June 1893 under the weight of temperament.

[34] Russell and Ling sang in the first performance of The Goddess of Truth, a new light opera by Julian Edwards and Stanislaus Stange, in Baltimore during February 1896.

[37] Ling briefly joined a summer season opera company at the American Theater in Manhattan, starting with The Bohemian Girl,[38] followed by The Mikado,[39] both of which he had sung before.

He sailed for Europe in early June 1896,[40] returning by September when he rejoined Russell's company for a tryout of An American Beauty, by Gustave Kerker and Hugh Morton.

[50] Ling toured with this company until November, when he reunited with Clara Lane in a Boston Lyric Opera[fn 5] production of Carmen at Chicago's Great Northern Theatre.

[51] During one performance Ling lost part of his thumb in the Act III fight between Don José and Escamillo (J. K. Murray), but finished the opera after being bandaged.

[53] Ling stayed with the company on tour, arriving back in Boston during late March 1898,[54] where he performed through mid-April,[55] but then quit over a $50 per week reduction in salary.

[56] Richie Ling returned to Chicago, joining the Schiller Opera Company to sing in The Beggar Student opposite Dorothy Morton.

There he saw the original production of A Runaway Girl,[59] and early August found him in New York as a member of Augustin Daly's company, rehearsing for the American debut of this work.

[63] Its Broadway premiere came at the Casino Theatre on October 23, 1899, with The New York Times critic saying "Richie Ling looked well and acted satisfactorily but he did not always sing in tune".

He joined the opera company of Lulu Glaser for Dolly Varden, by Julian Edwards and Stanislaus Stange, based on a character in Charles Dickens' Barnaby Rudge.

[79] The Jewel of Asia, a musical comedy by George W. Lederer starring James T. Powers, was already on Broadway when Ling joined it in late February 1903, replacing Clifton Crawford.

[92] This "musical satire on society" opened with tryouts in Binghamton and Rochester, New York,[93] and premiered on Broadway at the Casino Theatre on November 21, 1904,[94] for a limited engagement of five weeks.

[97] It opened in Atlantic City then played Chicago for the summer season, where one local critic said Ling sang well, but the opera suffered from a weak libretto.

[98] Ling next appeared in the opening of another new comic opera, The Girl and the Governor by Julian Edwards and S. M. Brenner, produced by the actor-manager Jefferson De Angelis.

[106] He is next seen with William Farnum's company in Cleveland, appearing in The Mallet's Masterpiece during September 1908,[107] then on Broadway in November with a principal role in Blue Grass by Paul Armstrong.

[113] Will o' th' Wisp, by Alfred G. Robyn and Walter Percival, was Ling's first non-singing role in a musical comedy, playing St. Louis and Chicago during late spring and summer of 1911.

[114][115] Much of Ling's time in 1911 and 1912 was taken up playing featured parts in minor productions, but he had a major supporting role in A Butterfly on the Wheel, an English legal drama of divorce.

[127] The third picture, The Sentimental Lady, was shot in early September at both the studio and on location at Saranac Lake, New York,[128] by which time The Woman Next Door had been showing to audiences for several weeks.

Reviewer Ralph Block said "the singing is mediocre" and "the ballets are undistinguished", but was full of praise for the sounds, settings, costumes, and characters that evoked a fantasy Baghdad from a thousand years ago.

Three other principals, including Marjorie Wood who was opposed to Equity affiliating with the American Federation of Labor, were persuaded by Morris Gest to ignore the callout, while the remaining cast never received word of the action until the next day.

[143] The general strike, which began in early August, was successfully concluded in thirty days, but Ling was out of a job and didn't appear on Broadway again until April 1920.

Ed Wynn, one of the few actor-managers who had sided with Equity, brought Ling into his "carnival", a large-scale vaudeville show mounted at the New Amsterdam Theatre starting April 5, 1920.

For dramatic purposes, Ling's character was intentionally depicted as farcical and indecisive by playwright Robert E. Sherwood, a far cry from the historical general who devised the Fabian strategy.

[155] It was a thankless role, the insuffiency of the middle-aged husband meant to point up the vigor of the masterful Hannibal, nevertheless Ling did draw some praise from critics Burns Mantle and Rowland Field.

[166] A New York arriving passenger list from RMS Oceanic during December 1910 described him as being of British nationality, 5'9 1/2" (176.5 cm) with brown hair, and blue eyes.