It was at the close of the autumn season of 1942, at the Metropolitan Opera House, that I bade good-bye to the Ballet Russe de Monte Carlo and Universal Art. There was a brief ceremony back-stage at the end of the last performance. Denham and I both made farewell speeches. It is always a sad moment for me to leave a company for whose success I have given so much of my time, my energy, and money. I felt this sadness keenly as I took leave of the nice kids. The subsequent Ballet Theatre tour developed recurring headaches. They were cumulative, piling up into one big headache, and it will be less trying both to the reader and to myself to recount it later in one place, at one time. With the spring of 1943, back we came to the Metropolitan for our spring season. There was a managerial change. German Sevastianov went off to war as a member of the United States Army, and J. Alden Talbot became managing director in his stead. This began the period of the wisest direction Ballet Theatre has known. Janet Reed joined the company as a soloist, and Vera Zorina appeared as guest artist in _Helen of Troy_, and in a revival of George Balanchine’s _Errante_. This was a work set to the music of Schubert-Liszt, originally done for Tilly Losch for _Les Ballets 1933_, in London, when Balanchine left de Basil, and one which the American Ballet revived at the Adelphi Theatre, in New York, two years later, with Tamara Geva. Balanchine also revived Stravinsky’s _Apollon Musagète_, with André Eglevsky, Zorina, Nora Kaye, and Rosella Hightower, to one of Stravinsky’s most moving scores. The other work was history-making. It was Antony Tudor’s _Romeo and Juliet_. It was a work of great seriousness and fine theatrical invention. On the opening night Tudor had not finished the ballet, although he had been at it for months. It was too late to postpone the _première_, so, after a good deal of persuading, it was agreed to present it in its unfinished state. The curtain on the first performance fell some twelve minutes before the end. I have told this tale in detail in _Impresario_. The matter is historic. There is no point in laboring it. Tudor is an outstanding creator in the field of modern ballet. _Romeo and Juliet_ is a monument to his creative gifts. The pity is that it no longer can be given by Ballet Theatre, no longer seen by the public, with its sharp characterization, its inviolate sense of period, the tenseness of its drama sustained in the medium of the dance.