which later played in New York. This was so well received that Byron abandoned the law to concentrate full-time on theatre. Another successful Strand burlesque in 1858 was The Maid and the Magpie; or, The Fatal Spoon an early play to include a dance at the end of a song. This starred Marie Wilton as Pippo and was also revived in New York. In 1859, he wrote another successful burlesque, The Babes in the Wood and the Good Little Fairy Birds. He soon wrote other burlesques for the Strand, the Olympic Theatre, and the Adelphi Theatre, as well as a sequence of Christmas pantomimes for the Princess's Theatre, beginning in 1859 with Jack the Giant Killer, or, Harlequin, King Arthur, and ye Knights of ye Round Table and followed the next year by Robinson Crusoe, or Harlequin Friday and the King of the Caribee Islands! Byron also wrote for periodicals, and in 1861, he became the first editor of Fun magazine, where he showcased the comic talents of the then-unknown W. S. Gilbert. He became editor of Comic News in 1863. He also founded the short-lived Comic Trials and wrote a three-volume novel, Paid in Full, in 1865. In 1867, he became the editor of Wag, another humour magazine, and in 1877, the sixpenny magazine Mirth. He wrote numerous dramatic critiques and humorous essays for magazines, including the rival of Fun, Punch. During this period, he was a well-known man-about-town, joining, and popular as a guest at, various London dining clubs and, in 1863, becoming a founding member of the Arundel Club. Henry Morley acknowledged with dismay Byron's position in the literary world as chief punster but found in him "a true power of fun that makes itself felt by high and low". He became a Member of the Dramatic Authors' Society by 1860. At the same time, he continued writing for the Strand, the Adelphi, the Theatre Royal, Drury Lane, the Haymarket Theatre and the Princess's, among other London theatres. Among Byron's dozens of plays in the early 1860s, his early successes were mostly burlesques, such as Bluebeard from a New Point of Hue (1860); Cinderella (1860); Aladdin, or, The Wonderful Scamp (1861); and Esmeralda, or, The Sensation Goat (1861), all in rhymed couplets. Another success was George de Barnwell; or Harlequin Folly in the Realms of Fancy (1862). Several of these early plays were revived in Britain and