The deal between Ballet Theatre and myself was closed during the time the company was working at Jacob’s Pillow, and I took over the company in November, 1941. It might be of interest to note some of the chief personnel of the company at that time. Among the women were: Alicia Markova, Irina Baronova, Lucia Chase, Karen Conrad, Rosella Hightower, Nora Kaye, Maria Karnilova, Jeanette Lauret, Annabelle Lyon, Sono Osato, Nina Popova, and Roszika Sabo; among the men were: Anton Dolin, Ian Gibson, Frank Hobi, John Kriza, Hugh Laing, Yurek Lasovsky, Nicolas Orloff, Richard Reed, Jerome Robbins, Dmitri Romanoff, Borislav Runanin, Donald Saddler, Simon Semenoff, George Skibine, and Antony Tudor, to list them alphabetically, for the most part. Later, Alicia Alonso returned to the organization. A considerable number had been brought as a strengthening measure by Sevastianov. One of the company’s weaknesses was in its classical and romantic departments. While there were Fokine’s _Les Sylphides_ and _Carnaval_, I felt more Fokine ballets were necessary to a balanced repertoire. Sevastianov engaged Fokine to re-stage _Le Spectre de la Rose_ and _Petroushka_, and to create a new work for Anton Dolin and Irina Baronova. Fokine started work on _Bluebeard_, to an Offenbach score, arranged and orchestrated by Antal Dorati, with scenery and costumes by Marcel Vertes. Meanwhile, I lived up to my contract with the Ballet Russe de Monte Carlo, and presented them, in the autumn of 1941, at the Metropolitan Opera House, and subsequently on tour. In order to prepare the new works, Ballet Theatre went to Mexico City, returning to New York to open at the Forty-fourth Street Theatre, on 12th November, 1941. In addition to the existing Ballet Theatre repertoire, four works were added and had their first New York performances: Psota’s _Slavonika_, and Dolin’s re-creation of _Princess Aurora_, which I have mentioned, together with _Le Spectre de la Rose_, and Bronislava Nijinska’s _The Beloved One_. The last was a revival of a work originally done to a Schubert-Liszt score, arranged by Darius Milhaud, for the Markova-Dolin Ballet in London. In the New York production it had scenery and costumes by Nicolas de Molas. It was not a success.