_Cendrillon_ was Fokine’s retelling of the Cinderella tale. The score, by Baron “Freddy” d’Erlanger, was certainly no great shakes, but Fokine illuminated the entire work with the sort of inventiveness that was so characteristic of him at his best. It would be unjust to compare this production with the later Frederick Ashton _Cinderella_, to the Prokofieff score, which he staged for the Sadler’s Wells Ballet; the approach was quite different. The de Basil-Fokine production nevertheless had a distinct charm of its own, enhanced by a genuine fairy-tale setting by Nathalie Gontcharova. A lesser contribution to the repertoire was a symbolic piece, _The Eternal Struggle_, staged by Igor Schwezoff, in Australia, to Robert Schumann piano music, orchestrated by Antal Dorati. It served the purpose of introducing two Australian designers to America: the Misses Kathleen and Florence Martin. There was a duo of works by David Lichine, one serious and unsuccessful, the other a comedy that had a substantial audience success and which, since then, has moved from company to company. The former, _Protée_, was arranged to Debussy’s _Danses Sacré et Profane_, in a Chirico setting and costumes. The latter, _Graduation Ball_, Lichine had staged during the long Australian stay. Its music was an admirable selection and arrangement of Johann Strauss tunes by Antal Dorati. Its setting and costumes were by Alexandre Benois. Much of its humor was sheer horseplay and on the obvious side; but it was completely high-spirited, and was the season’s comedy success. A third work, credited to Lichine, was _The Prodigal Son_, a ballet that was the outstanding creation of the last Diaghileff season, in 1929. Set to a memorable commissioned score by Serge Prokofieff, by George Balanchine, with Serge Lifar, Leon Woizikovsky, Anton Dolin and Felia Dubrowska in the central roles, it had striking and evocative settings and costumes by Georges Rouault. De Basil had secured these properties, and had had the work re-done in Australia by Lichine. Lichine insisted he had never seen the Balanchine original and thus approached the subject with a fresh mind. However, Serge Grigorieff was the general stage director for both companies. It is not beyond possibility that Grigorieff, with his sensitive-plate retentive mind for balletic detail, might have transferred much of the spirit and style of the original to the de Basil-Lichine presentation. However it may have been, the result was a moving theatrical experience. My strongest memory of it is the exciting performance given by Sono Osato as the exotic siren who seduces the Prodigal during his expensive excursion among the flesh-pots.