During the Mexican hegira the company re-staged the Eugene Loring-Aaron Copland _Billy the Kid_, still one of the finest American ballets, although originally created in 1938. Certainly it is one of Copland’s most successful theatre scores. Simon Semenoff also brought forth a condensed and truncated version of Delibes’s _Coppélia_, as a vehicle for Irina Baronova, with settings and costumes by Robert Montenegro. It was not a success. It was a case of tampering with a classic; and I hold firmly to the opinion that classics should not be subjected to tampering or maltreatment. There is a special hades reserved for those choreographers who have the temerity to draw mustaches on portraits of lovely ladies. Yet another Mexican creation that failed to meet the test of the stage was _Romantic Age_, a ballet by Anton Dolin, to assorted music by Vincenzo Bellini, in a setting and with costumes by Carlos Merida. An attempt to capture some of the balletic atmosphere of the “romantic age” in ballet, it was freely adapted from the idea of _Aglae, or The Pupil of Love_, a work by Philippe Taglioni, dating back to 1841, originally a vehicle of Marie Taglioni. Michel Fokine and his wife Vera were also with the company in Mexico City, re-staging his masterpiece, _Petroushka_, and commencing a new work, _Helen of Troy_, based on the Offenbach _opéra bouffe_, _La Belle Hélene_. Unfortunately, Fokine was stricken with pleurisy and returned to New York, only to die from pneumonia shortly after. _Helen of Troy_, however, promised well and a substantial investment had already been made in it. David Lichine was called in and worked with Antal Dorati on the book, as Dorati worked on the Offenbach music, with Lichine staging the work on tour after the Metropolitan Opera House season in New York. Still later, when Vera Zorina appeared with the company, George Balanchine restaged it for his wife. The final result was presumably a long way from Fokine, but a version of it still remains in the Ballet Theatre repertoire today. André Eglevsky joined the company during this season. Later on, Irina Baronova, under doctor’s orders, left. Because there was no sound artistic direction and no firm discipline in the company, I urged Sevastianov to engage an experienced and able ballet-master and _régisseur-general_ in the person of Adolph Bolm, to be responsible for the general stage direction, deportment, and the exercise of an artistic discipline over the company’s dancers, particularly the dissident elements in it, which made working with them exceedingly difficult at times. Sevastianov discussed the matter with Miss Chase, who agreed. Before accepting, Bolm telephoned me from California seeking my advice and I could but urge him to accept because I felt this would go a long way toward stabilizing the company artistically.