Penzance by opening the production themselves on Broadway, prior to the London production, and they also operated profitable US touring companies of Pirates and Pinafore. However, Gilbert, Sullivan, and their producer, Richard D'Oyly Carte, failed in their efforts, over the next decade, to control the American performance copyrights to Pirates and their other operas. Fiction and plays about pirates were ubiquitous in the 19th century. Walter Scott's The Pirate (1822) and James Fenimore Cooper's The Red Rover were key sources for the romanticised, dashing pirate image and the idea of repentant pirates. Both Gilbert and Sullivan had parodied these ideas early in their careers. Sullivan had written a comic opera called The Contrabandista, in 1867, about a hapless British tourist who is captured by bandits and forced to become their chief. Gilbert had written several comic works that involved pirates or bandits. In Gilbert's 1876 opera Princess Toto, the title character is eager to be captured by a brigand chief. Gilbert had translated Jacques Offenbach's operetta Les brigands, in 1871. As in Les brigands, The Pirates of Penzance absurdly treats stealing as a professional career path, with apprentices and tools of the trade such as the crowbar and life preserver. Genesis While Pinafore was running strongly at the Opera Comique in London, Gilbert was eager to get started on his and Sullivan's next opera, and he began working on the libretto in December 1878. He re-used several elements of his 1870 one-act piece, Our Island Home, which had introduced a pirate "chief", Captain Bang. Bang was mistakenly apprenticed to a pirate band as a child by his deaf nursemaid. Also, Bang, like Frederic in The Pirates of Penzance, had never seen a woman before and felt a keen sense of duty, as an apprenticed pirate, until the passage of his twenty-first birthday freed him from his articles of indenture. Bernard Shaw believed that Gilbert drew on ideas in Les brigands for his new libretto, including the businesslike bandits and the bumbling police. Gilbert and Sullivan also inserted into Act II an idea they first considered for a one-act opera parody in 1876 about burglars meeting police, while their conflict escapes the notice of the oblivious father of a large family of girls. As in Pinafore, "there was a wordful self-descriptive set-piece for Stanley ["The Major-General's Song"], introducing himself much as Sir Joseph Porter had done ... a lugubrious comic number