I like to remember her as the Lady Gay, that red-haired trollop of the construction camps, in _Union Pacific_, with her persuasive, characteristic “come-up-and-see-me-sometime” interpretation; to remember her in the minor role of the First Hand in _Le Beau Danube_, carefree, innocent, flirting at the side of the stage with a park artist. I like to remember her in _Jeux d’Enfants_, as she ran through the gamut of jealousy, petulance, anger, and triumph; in _Les Présages_, as the passionate woman loving with her whole being, fighting off the evil that threatens love; in the mazurka in _Les Sylphides_; in _The Hundred Kisses_, imperious, sulky, stubborn, humorously sly; and as the Ballerina in _Petroushka_, drawing that line of demarcation between heartless doll and equally heartless flirting woman. Performance over, and away from the theatre, another transformation took place; for Irina was never off-stage the _grande artiste_, the _ballerina_, but a healthy, normal girl, with a keen sense of humor. After a turn or two as a “legitimate” actress and a previous marriage, Baronova now lives in London’s Mayfair, the wife of a London theatrical manager, with her two children. The triumph of domesticity is ballet’s loss. I should like to set down from my memory the additions to the repertoire of the Original Ballet Russe while they had been absent from our shores. There were some definitely refreshing works. Chief among these were two Fokine creations, _Paganini_ and _Cendrillon_. The former had been worked out by Fokine with Sergei Rachmaninoff, utilizing for music a slightly re-worked version of the latter’s _Rhapsody on a Theme by Paganini_. Serge Soudeikine had designed a production that ranked at the top of that Russian designer’s list of theatre creations. The entire ballet had a fine theatrical effectiveness. Perhaps the whole may not have been equal to the sum of its parts, but the second scene, wherein Paganini hypnotized a young girl by his playing of the guitar and the force of his striking personality, thereby forcing her into a dance of magnificent frenzy, was a striking example of the greatness of Fokine. Tatiana Riabouchinska rose to tremendous heights in the part. I remember Victor Dandré, so long Pavlova’s life-partner and manager, telling me how, in this part, Riabouchinska reminded him of Pavlova. Dandré did not often toss about bouquets of this type.