"The Bandolero", and "Little Dolly Daydream." His instrumental pieces included at least one Cakewalk. As a songwriter, Stuart suffered so much from the effects of copyright infringement that it can be speculated that his move to the musical theatre was an attempt to avoid the loss of royalty income from the publication of sheet music and performances. Peak years Stuart's greatest acclaim came in 1899 with Florodora, his first full musical comedy score, with a book by Owen Hall. With traditional slow love ballads as well as waltzes and more rhythmic and playful concerted numbers, the score and show became a worldwide hit. The double sextet from that show, "Tell me, pretty maiden", became a vaudeville standard. The music critic Neville Cardus wrote about the "beautiful and unexpected phrasing and transitions" in the number, continuing, "it begins with a long phrase, rather like the opening bars of a Brahms symphony. It is extraordinary to find music such as this in a musical comedy". He ended by writing that in its own way it was "just as perfect a composition … as is the quintet in Meistersinger". Florodora was followed by The Silver Slipper (1901), The School Girl (1903), The Belle of Mayfair (1906), and Havana (1908). All these shows were successful and were produced internationally. Stuart was an active campaigner for intellectual property rights and called for tighter laws on both national and international copyright. Publishers and wealthy second-rate songwriters would pay producers, for the exposure, to insert their songs into a hit musical. With the strength of the fame of Florodora behind him, Stuart succeeded in stopping this practice in his next few pieces. Similarly, he had succeeded from time to time in parts of his fight in Britain and in America against unauthorized music distribution and on behalf of firmer national and international copyright laws. The success of Stuart's shows led George Edwardes to hope that he would be able to replace the Caryll and Monckton writing partnership on their departure from the Gaiety Theatre. Stuart's next show, Captain Kidd (1909), however, was not for the Gaiety, and it was a flop. The Observer praised the performances of Terriss, Seymour Hicks and Ivy St Helier, but said that Stuart's music "had one striking and ingenious melody ... and two or three pretty tunes, and was adequate throughout without being remarkable." His next production, The Slim Princess (1910), made