Only five of the eighteen works that made up the repertoire of the introductory season of Ballet Theatre remain in existence: _Giselle_, originally staged, after the traditional production, by Anton Dolin, who had joined the venture after an Australian stint with de Basil’s Original Ballet Russe; _Swan Lake_, in the one-act version, also staged by Dolin; Fokine’s masterpiece, _Les Sylphides_; the oldest ballet extant, _La Fille Mal Gardée_, staged by Bronislava Nijinska; and Adolph Bolm’s production of the children’s fairy tale, _Peter and the Wolf_, to the popular Prokofieff orchestral work, with narrator. It was significant to me that the outstanding successes of that first season were the classics. First, there was _Les Sylphides_, restored by the master himself. This, coupled with Dolin’s _Swan Lake_, and _Giselle_, constituted the backbone of the standard repertoire. The first four weeks’ season was, perhaps, as expensive a balletic venture as New York has known, with the possible exception of the Ballet International of the Marquis de Cuevas, some four years later. Following Ballet Theatre’s introductory burst of activity, there was a hiatus, during which the company gave sporadic performances in Philadelphia, some appearances at the Lewisohn Stadium in New York, and appeared in Chicago in conjunction with the Chicago Opera Company. Before Ballet Theatre embarked on its second season, trouble was cooking. There were indications Lucia Chase and Pleasant were not seeing exactly eye to eye. The second New York season was announced to open at the Majestic Theatre, on 11th February, 1941. Now the Majestic Theatre is a far cry from the wide open spaces of the Center Theatre. It is the house where I had given a brief and costly season with de Basil’s Ballet Russe de Monte Carlo in the early days, on a stage so small that no justice can be done to dance or dancers, and where the capacity does not admit of meeting expenses even when sold out. Pleasant’s newest idea, announced before the season opened, was to present a “company.” There were to be no distinctions or classifications of dancers. One of the time-honored institutions of ballet was also abolished; there was no general stage director, or _régisseur-general_, as he is known in the French terminology of ballet. Instead, the company was divided, like all Gaul, into three parts, to be known as “Wings,” with Anton Dolin in charge of the “Classic Wing”; Antony Tudor, of the “English Wing”; Eugene Loring, of the “American Wing.” Five new works were added to the repertoire, of which only two remain: Eugene Loring’s _Billy the Kid_, to one of Aaron Copland’s finest scores, and Agnes de Mille’s _Three Virgins and a Devil_, to Ottorino Respighi’s _Antiche Danze ed Arie_. Dolin’s _Pas de Quatre_, produced at this time, has been replaced in the company’s repertoire by another version.