Among the first acts of Sevastianov, after taking over the directorship, was to engage his wife, Irina Baronova, as a leading ballerina, together with Antal Dorati, former musical director of the de Basil company, and today the musical director of the Minneapolis Symphony Orchestra, to direct and supervise the music of Ballet Theatre. Later, through the good offices of Anton Dolin, Alicia Markova, whose contract with the Ballet Russe de Monte Carlo had terminated, became one of the two _ballerine_ of the company. The negotiations dragged on during the summer. Meanwhile, with the company and its artists inactive, Markova and Dolin, on their own, leased Jacob’s Pillow, the Ted Shawn farm and summer theatre in the Berkshires, and gave a number of performances under the collective title of International Dance Festival. This was a quite independent venture, but Markova and Dolin peopled their season and school with the personnel of Ballet Theatre. This summer in the Berkshires had a two-fold effect on the company: first, the members were thus able to work together as a unit; second, with three choreographers in residence, it was possible for them to lay out and develop the early groundwork of three works, subsequently to be added to the Ballet Theatre repertoire: _Slavonika_, by Vania Psota; _Princess Aurora_, by Anton Dolin; and _Pillar of Fire_, by Antony Tudor. Two of these were major contributions; one was pretty hopeless. Dolin’s _Princess Aurora_ was a reworking of the last act of Tchaikowsky’s _The Sleeping Beauty_, a sort of _Aurora’s Wedding_, with the addition of the _Rose Adagio_, giving the company another classic work that remains in the company’s repertoire today, with some “innovations.” _Pillar of Fire_, set to Arnold Schönberg’s _Verklärte Nacht_, revealed a new type of dramatic ballet which, in many respects, may be said to be Tudor’s masterpiece. _Slavonika_ was set by the Czech Psota to a number of Dvorak’s _Slavonic Dances_, and was an almost total loss, from every point of view. The original version, as first produced, ran fifty-five minutes. I thought it would never end. But, as the tour proceeded, it was cut, and cut again. The last time I saw it was when I visited the company in Toronto. Then it was blessedly cut down to six minutes. After that, no further reduction seemed possible, and it was sent to the limbo of the storehouse, never to be seen again.