only a modest impact, though it was produced in New York as well as in London. Peggy was produced at the Gaiety in 1911 and had a reasonable but not outstanding run, from March to November in London, as well as a Broadway run. In the words of Stuart's biographer Andrew Lamb, these pieces "failed to add to his reputation". Later years By 1911, the lack of any new stage successes, coupled with gambling debts and the interest due on them, resulted in Stuart's appearance before the bankruptcy courts. He was declared bankrupt in 1913 and not discharged until 1920. At the age of 48 he found that changing tastes in musical styles and the influence of modern dance rhythms meant his career as a composer was effectively over, although he did write a number of songs that were inserted, against his principles, in the shows of other composers and a musical, Bubbles (1914), that was produced only in the provinces on a small scale. Stuart retained an income, provided by continued revivals and performances of the popular Florodora, and supplemented this by appearing with success in variety theatre, where he performed his most famous songs accompanying himself on the piano. However, after the bankruptcy, he began to drink and have marital problems. Stuart's last years were spent partly in trying to achieve production of his musical play Nina, also known as The Girl from Nyusa. The Shubert brothers took out an option to produce the work, but nothing materialised. In 1927, shortly before his death, Stuart wrote a series of fourteen short pieces for the Empire News, consisting of recollections and reminiscences. They were collected and republished in 2003 under the title My Bohemian Life. Stuart and his wife, Kitty, had five children who survived to adulthood, Mary "May" (1886–1956), Thomas "Leslie" (1888–1970), Marie "Dollie" (1891–1949), Stephen "Chap" (b. 1894) and Constance "Lola" (b. 1896). Stuart died at his daughter May's home in Richmond, Surrey, in 1928, at the age of 65, and was buried in Richmond Cemetery. Reputation and legacy The mid-20th century critic James Agate said that he had proved the quality of Stuart's music: he took a Stuart song, halved the tempo, supplied German words – and serious musicians accepted without demur his assertion that it was a recently discovered cradle song by Brahms. In 2003 the critic Rodney Milnes called Stuart "the most gifted composer