Lyceum, this time for J. Comyns Carr's . With the aid of an intermediary, Sullivan's music publisher Tom Chappell, the three partners were reunited in 1892. Their next opera, Utopia, Limited (1893), ran for 245 performances, barely covering the expenses of the lavish production, although it was the longest run at the Savoy in the 1890s. Sullivan came to disapprove of the leading lady, Nancy McIntosh, and refused to write another piece featuring her; Gilbert insisted that she must appear in his next opera. Instead, Sullivan teamed up again with his old partner, F. C. Burnand. The Chieftain (1894), a heavily revised version of their earlier two-act opera, The Contrabandista, flopped. Gilbert and Sullivan reunited one more time, after McIntosh announced her retirement from the stage, for The Grand Duke (1896). It failed, and Sullivan never worked with Gilbert again, although their operas continued to be revived with success at the Savoy. In May 1897 Sullivan's full-length ballet, Victoria and Merrie England, opened at the Alhambra Theatre to celebrate the Queen's Diamond Jubilee. The work celebrates English history and culture, with the Victorian period as the grand finale. Its six-month run was considered a great achievement. The Beauty Stone (1898), with a libretto by Arthur Wing Pinero and J. Comyns Carr, was based on mediaeval morality plays. The collaboration did not go well: Sullivan wrote that Pinero and Comyns Carr were "gifted and brilliant men, with no experience in writing for music", and, when he asked for alterations to improve the structure, they refused. The opera, moreover, was too serious for the Savoy audiences' tastes. It was a critical failure and ran for only seven weeks. In 1899, to benefit "the wives and children of soldiers and sailors" on active service in the Boer War, Sullivan composed the music of a song, "The Absent-Minded Beggar", to a text by Rudyard Kipling, which became an instant sensation and raised an unprecedented £300,000 () for the fund from performances and the sale of sheet music and related merchandise. In The Rose of Persia (1899), Sullivan returned to his comic roots, writing to a libretto by Basil Hood that combined an exotic Arabian Nights setting with plot elements of The Mikado. Sullivan's tuneful score was well received, and the opera proved to be his most successful full-length collaboration apart from those with Gilbert. Another opera with Hood, The Emerald Isle, quickly went into