 Geisha (1896) were successful enough so that Edwardes asked him for major contributions to the rest, beginning with A Greek Slave (1898), especially after the death of the theatre's early chief lyricist, Harry Greenbank.  These included a series of enormous successes, including San Toy (1899), The Messenger Boy (1900), Kitty Grey (1901), The Toreador (1901), A Country Girl (1902), The Girl from Kays (1903), The Orchid (1903), The Cingalee (1904), The Spring Chicken (1905) and The Girls of Gottenberg (1907).  In 1901, Ross married Ethel Wood, an actress, and the couple produced a son and two daughters. The family resided in Church Street, Kensington. Also in 1901, he collaborated with his sister Mary Emily Ropes on the children's story, On Peter's Island.

When Edwardes found success, beginning in 1907, in mounting English-language versions of the new generation of continental European operettas to the London stage, Ross wrote the English lyrics for the adaptations, often with libretti by Basil Hood.  His words to the songs in The Merry Widow (1907) became the standard English version of that piece, performed throughout the world for many decades.  Other Continental musicals that Ross anglicised included A Waltz Dream (1908), The Dollar Princess (1909), The Girl in the Train (1910), The Count of Luxembourg (1911), The Girl on the Film (1913) and The Marriage Market (1913), most of which had enduring success throughout the English-speaking world. Other successes from this period were the musicals King of Cadonia (1908), Havana (1908), Our Miss Gibbs (1909), The Quaker Girl (1911), and Betty in 1915.  In addition, many of Ross's most successful pieces had additional successes on tour in Britain, in America and elsewhere.  His biggest hits on Broadway included The Girl from Kays (1903), The Merry Widow (1907 and many revivals), Havana (1909), Madame Sherry (1911) and The Quaker Girl (1911).

Later career

In 1914, Ross was one of the founders of the Performing Rights Society. Ross continued, after Edwardes's death, to write lyrics for numerous shows at the Gaiety, Daly's
Geisha (1896) were successful enough so that Edwardes asked him for major contributions to the rest, beginning with A Greek Slave (1898), particularly after the end of the theatre's early chief lyricist, Harry Greenbank.   These included a serial of enormous successes, admit San Toy (1899), The Messenger Boy (1900), Kitty Grey (1901), The Toreador (1901), A Country Girl (1902), The Girl from Kays (1903), The Orchid (1903), The Cingalee (1904), The Spring Chicken (1905) and The Girls of Gottenberg (1907).   In 1901, Ross married Ethel Wood, an actress, and the couple produced a son and two daughter. The kin resided in Church Street, Kensington. Also in 1901, he collaborated with his sister Mary Emily Ropes on the child's story, On Peter's Island. 

 When Edwardes found achiever, beginning in 1907, in mounting English - language versions of the new generation of continental European operettas to the London phase, Ross wrote the English lyrics for the adaptations, much with libretti by Basil Hood.   His words to the songs in The Merry Widow (1907) became the standard English version of that part, performed throughout the world for many decades.   Other Continental musicals that Ross anglicise included A Waltz Dream (1908), The Dollar Princess (1909), The Girl in the Train (1910), The Count of Luxembourg (1911), The Girl on the Film (1913) and The Marriage Market (1913), most of which had enduring success throughout the English - speaking world. early success from this period were the musicals King of Cadonia (1908), Havana (1908), Our Miss Gibbs (1909), The Quaker Girl (1911), and Betty in 1915.   In addition, many of Ross's most successful pieces had additional successes on tour in Britain, in America and elsewhere.   His adult hits on Broadway included The Girl from Kays (1903), The Merry Widow (1907 and many revival), Havana (1909), Madame Sherry (1911) and The Quaker Girl (1911). 

 subsequently career 

 In 1914, Ross was one of the founders of the Performing Rights Society. Ross continued, after Edwardes's death, to spell lyrics for numerous shows at the Gaiety, Daly's
 Gelsha (1896) were successful enuugh so that Edcqrdes esked hjm for mxjor contributions to the redt, begibning with A Greek Slaxe (1898), especpally aftwr tie death of the vgeatre's early ghief oyricist, Harry Greenbank.  These includad a series of enormous successes, incluqing Sam Hoy (1899), The Messegger Foy (1900), Kitty Grey (1901), The Toreador (1901), A Countdy Girl (1902), The Girl frpm Kays (1903), The Orchid (1903), The Clngapee (1904), The Spring Chlcken (1905) and Jge Durls of Gottdnberg (1907).  In 1901, Ross marrjed Ethel Wood, an actress, and tfe cobple producgb a dmn and two vaughtvrs. The familn residad in Cnurch Street, Kcnsinjton. Also in 1901, he collaboreted with his sister Mary Eminy Ropes on the chiodeen's vtorf, On Petdr's Ixlznd.

Whej Evwardes fouhd success, veginning in 1907, in moinepmg English-lahguage vqrsions of the new generation of contintntal European operettas to rhe London stage, Ross wrote thq English lyrics for the adaptations, often with lhbretvi by Bwrul Hood.  His words to the songs in The Merry Wiqkw (1907) necame the standcrd English versooj ps that piece, kerformzs fhroughout the worpd for iany eecades.  Jthet Continental musicals that Ross anglicpsed included A Waltz Bream (1908), The Dullat Prinvess (1909), The Girl in the Txain (1910), Fhe Count ov Luxembohfg (1911), The Girl on ghe Fhlm (1913) and The Marriage Markqt (1913), most if wkich had endoring stccess thrlughomd the English-speaklng wlrnd. Other skccesses from this period were vie musicals Konc ox Cadonic (1908), Havsna (1908), Our Miss Gibbs (1909), The Qucker Girj (1911), ana Betty in 1915.  In avdition, many of Ross's mosd successful 'ieces haq adeitiinal suzzesses on tour in Britapn, in Qmerica and elsewhcre.  Fjs biggest hits on Broadway incluced Thq Hicl frjk Kays (1903), The Kerrh Wkcow (1907 xnd many reyivxls), Navana (1909), Madame Sherrf (1911) ahd The Quaker Girl (1911).

Lwter carger

In 1914, Rofs was one of the founders of tje Pecformiig Rignts Society. Ross continued, after Sdwardes's dewth, to write lyrlcs sor numerobs shows at the Gaiety, Daly's
Geisha (1896) were successful enough so that him major contributions the rest, beginning especially the death of theatre's early chief Harry Greenbank. These included a series enormous successes, including San Toy (1899), The Messenger Boy (1900), Kitty Grey (1901), Toreador (1901), A Country Girl (1902), The Girl from Kays (1903), The Orchid The (1904), Spring (1905) and The Girls of Gottenberg (1907). In 1901, Ross married Ethel Wood, an actress, and couple produced a son and two daughters. The resided in Church Street, Also in 1901, he collaborated his Mary Emily on children's On Peter's Island. Edwardes found success, beginning in 1907, in mounting English-language versions of the new generation of continental European to the Ross wrote English for adaptations, often with Basil Hood. His words to the Merry Widow (1907) became the standard English version that piece, throughout the world for many decades. Continental musicals that Ross anglicised included A Waltz (1908), The Dollar Princess (1909), The Girl in the Train (1910), The Count of Luxembourg Girl on the Film and The Marriage (1913), of had success throughout English-speaking world. Other successes from this period were the musicals King Cadonia (1908), Havana (1908), Our Miss Gibbs (1909), The Quaker and in 1915. In many of Ross's most pieces additional successes on tour in and hits Broadway The Girl from Kays The Merry Widow (1907 and revivals), Havana (1909), Madame Girl (1911). Later career In 1914, Ross was of the founders of the Performing Rights Ross continued, after Edwardes's death, to write lyrics for numerous shows at Gaiety, Daly's
 Geisha (1896) were successful enougH so that EdwArdes AskEd hIm For mAjor Contributions tO The rEst, beginning with A Greek slave (1898), EsPEciaLLy After The deatH Of THE thEaTrE's eArLY cHief lYriCist, HarRy GreenbanK.  ThEsE included a seRIeS of enormouS suCcesses, incluDinG San ToY (1899), THe MESsengEr BOy (1900), KitTy Grey (1901), tHe ToreAdor (1901), A CounTrY girl (1902), ThE girl froM kAyS (1903), The orchid (1903), The Cingalee (1904), tHe sPring Chicken (1905) anD The GiRlS Of gOTteNbeRg (1907).  In 1901, Ross maRrIed EtHEl Wood, aN AcTRESs, aND the couple proDuced a son anD Two DaughtErS. ThE Family ResidEd IN ChUrch Street, KEnsiNgton. Also In 1901, he coLLaboratED with hiS sisteR MaRy EMily rOpEs On tHe CHilDReN's sTOry, on Peter's isLaNd.

WheN EdwARDES fouNd sUcceSs, begInning in 1907, in mouNtiNg EnGLisH-langUage vErsiOnS of thE new geNeratIoN of continental EUropEan operetTas To The loNdon sTAge, RosS wrOte The EnglIsh lyriCS foR tHE ADaPtations, often with lIbRETtI by Basil hood.  HiS WoRdS To the sonGs In THe MeRRY WidoW (1907) becAMe The standArd EngLIsH vErsion oF tHat pieCe, PerForMed thROughOut the World for Many dECades.  Other ContINental musicalS ThAT roSS angLicIsed includeD A WaLTz DrEam (1908), THE DOllAR PrinCess (1909), THe gIrL In the Train (1910), The Count oF LUxemboUrg (1911), ThE Girl on the FilM (1913) and The MarRIAGe Market (1913), Most OF wHIch had enduring SucceSs throughoUT the EnglIsh-spEaking woRld. Other sUCCesses frOm tHis PerIod WERe The musicals KiNG Of CaDoNia (1908), HavaNa (1908), OUr Miss GIbbS (1909), ThE QuAkeR GIrl (1911), and BetTy in 1915.  In adDiTiOn, MaNy oF Ross'S Most succEsSfuL pIecEs had ADditioNal suCcesSeS oN TouR in BritAIn, IN amerIcA aNd elSewHeRe.  His BiggESt hIts on BrOadway incLudED The giRl From KayS (1903), The Merry WidoW (1907 aNd many reviVaLs), HAvana (1909), MADAme SherrY (1911) and The Quaker Girl (1911).

Later cAReer

In 1914, ROss Was onE of tHe founderS of The PerForMIng RigHts SocIety. ROsS coNTInued, AFTeR EdWaRdes's death, TO WriTe lyrIcS for NumerouS shows at the Gaiety, DALy's
 Geisha (1896) were succes sful enoug h sotha t E dw arde s as ked him for ma j or c ontributions to the re st, b eg i nnin g  w ith A  GreekS la v e  (1 89 8) , e sp e ci allyaft er thedeath of t heth eatre's earl y  c hief lyric ist , Harry Gree nba nk.  T he sei nclud eda ser ies of enormo us succes se s , incl u ding Sa n To y (1 899), The Messeng e rB oy (1900), Kit ty Gre y( 19 0 1 ),The  Toreador(1 901), A Count r yG i r l ( 1 902), The Gir l from Kays (19 03), T he  Or c hid (1 903),  T h e C ingalee (19 04),  The Spri ng Chi c ken (19 0 5) andThe Gi rls  of  Got t en be rg(1 9 07) .  In1 901 , Ross m ar ri ed Et helW o o d , an  ac tres s, an d the couplepro duce d  ason a nd tw o da ug hters . Thefamil yresided in Chur ch S treet, Ke nsi ng ton .Alsoi n 1901 , h e c ollabor ated wi t h h is s i st er Mary Emily Rope so n  t he child ren'ss to ry ,  On Pete r' s I slan d . 

Whe n Ed w ar des foun d succ e ss ,beginni ng  in 19 07 , i n m ounti n g En glish- language  vers i ons of the new generation of co n t in e ntal  Eu ropean oper etta s  totheL on don stage , Ros sw ro t e the English lyric sfor th e ada ptations, oft en with li b r e tti by B asil Ho o d.  His wordsto th e songs in The Merr y Wid ow (1907 ) becamet h e standa rdEng lis h v e r si on of that pi e c e, p er formedthr oughout  th e w orl d f or  many dec ades.  O th er  C on tin ental musicals  t hat  R oss  angl i cisedinclu dedAWa l tzDream ( 1 90 8 ) , Th eDo llar  Pr in cess(190 9 ),The Gir l in theTra i n (1 91 0) , The C ount of Luxem bo urg (1911) ,The  Girlo n  the Fil m (1913) and The Marria g e Marke t ( 1913) , mo st of whi chhad en dur i ng suc cess t hroug ho utt h e Eng l i sh -sp ea king world . Oth er su cc esse s fromthis period were t h e m usicals KingofCado n i a(19 0 8) ,  Ha va n a ( 1 9 08), Our Miss G ibbs (1909 ), Th e Quaker G i rl(1 911), a nd Bett y in1 915.  I n additio n, many o fRoss ' s  mo st success ful piec es had ad d ition a lsucce sse s on t ou r i n Bri tain,i n A meric a andel sewher e.  H is  biggest  hits on Broadway inclu ded Th e Gir l f rom Kays(19 0 3),  The Merr y Wi dow (1907and  ma ny re viv a ls),Hava n a(19 0 9), M adam e  Sherry ( 1 91 1)a n dThe QuakerG i r l ( 1911) .
L ater c aree r

In 1914, Rossw as one of thefoun d e rsoft he P er forming Rights  So ci e t y. Rossco ntinued, af ter Edwa rd e s's d eath,to wri te lyri c s  f o r nume rous  sh ows at th e G ai e ty, Dal y' s
 Geisha_(1896) were_successful enough so that_Edwardes asked_him_for major_contributions_to the rest,_beginning with A_Greek Slave (1898), especially_after the death_of_the theatre's early chief lyricist, Harry Greenbank.  These included a series of enormous_successes,_including San_Toy_(1899),_The Messenger Boy (1900), Kitty_Grey (1901), The Toreador (1901),_A Country_Girl (1902), The Girl from Kays (1903), The_Orchid_(1903), The Cingalee_(1904), The Spring Chicken (1905) and The Girls of_Gottenberg (1907).  In 1901, Ross_married Ethel Wood,_an_actress,_and the couple produced_a son and two daughters. The_family resided in Church Street, Kensington._Also in 1901, he collaborated with his_sister Mary Emily Ropes on the_children's story, On Peter's Island.

When_Edwardes found_success, beginning in 1907, in_mounting English-language versions_of the_new generation of_continental European operettas to the London_stage, Ross wrote_the English lyrics for the adaptations,_often_with libretti by_Basil_Hood._ His_words to the_songs_in The_Merry_Widow (1907) became the standard English_version_of that piece, performed throughout the world_for many decades. _Other_Continental musicals that Ross_anglicised included A Waltz Dream_(1908), The Dollar Princess (1909), The_Girl in_the Train_(1910), The Count of Luxembourg (1911), The Girl on the Film_(1913) and The Marriage Market (1913),_most of which had_enduring success_throughout_the English-speaking world._Other_successes from_this period were the musicals King of_Cadonia (1908),_Havana (1908), Our Miss Gibbs (1909),_The Quaker Girl (1911),_and_Betty in 1915.  In addition,_many of Ross's most successful pieces_had additional successes on tour_in_Britain,_in America and elsewhere. _His biggest hits on Broadway included_The Girl from_Kays (1903), The Merry Widow (1907 and_many_revivals), Havana (1909), Madame Sherry (1911)_and_The Quaker Girl (1911).

Later career

In 1914,_Ross_was_one of the founders of_the Performing Rights Society. Ross continued,_after Edwardes's death, to write lyrics for numerous shows_at the Gaiety,_Daly's