in London, she was engaged to create the title role in Gilbert and Sullivan's Princess Ida (1884), but she clashed with W.S. Gilbert and was dismissed during rehearsals. Solomon's comic operas were not highly successful in Britain, so Russell and Solomon returned to America. They had a daughter together, Dorothy Lillian Russell, in 1884, and married in New Jersey in 1885. Russell was very well received in Solomon's works, on tour in the U.S. for Pastor. Another Solomon success for Russell and Pastor was Pepita; or, the Girl with the Glass Eyes. Russell also played in New York theatres or on tour in Gilbert and Sullivan and in operettas. Her relationship with Solomon soured, mostly due to his poor finances, and their last show, The Maid and the Moonshiner (1886), was a flop. When creditors sued Solomon, he fled the country. In 1886, Solomon was arrested for bigamy because his previous marriage had not been dissolved. Russell obtained a divorce from Solomon in 1893. Russell continued to star in comic opera and other musical theatre. She toured with the J.C. Duff Opera Company between other engagements for two years beginning in 1886. In 1887, she starred as Carlotta in Gasparone by Karl Millöcker in New York City at the Standard Theatre, together with Eugène Oudin and J.H. Ryley. Later the same year, she was back at the Casino Theatre in the title role of Dorothy, and over the next several years, she continued to star in operettas and musical theatre on Broadway. Her parts at this time included the title role in The Grand Duchess of Gerolstein, Fiorella in The Brigands (in a translation by W.S. Gilbert), Teresa in The Mountebanks, Marion in La Cigale, and Rosa in Princess Nicotine. In 1891, she opened at the Garden Theatre as the star of the Lillian Russell Opera Company. Giroflé-Girofla was a favorite of Russell, who played the dual lead role in Chicago, New York and on tour in the 1890s. For many years, Russell was the foremost singer of operettas in America. Her voice, stage presence and beauty were the subject of a great deal of fanfare in the news media, and she was extremely popular with audiences. Actress Marie Dressler observed "I can still recall the rush of pure awe that marked her entrance on the stage. And then the thunderous applause that swept from orchestra to gallery, to the