There were: Fokine’s heritage--_Les Sylphides_, _Carnaval_, (no longer in repertoire), _Petroushka_ (no longer in repertoire), _Spectre de la Rose_ (no longer in repertoire), plus two creations, _Bluebeard_, and _Russian Soldier_ (no longer in repertoire). Andrée Howard had staged _Death and the Maiden_ and _Lady Into Fox_ (both dropped before I took over the company). Bronislava Nijinska had revived _La Fille Mal Gardée_ and _The Beloved One_ (no longer in the repertoire). Anton Dolin had revived _Swan Lake_, _Giselle_ (now performed in a Balanchine version), _Princess Aurora_ (now touched up by Balanchine), and had created _Quintet_ (dropped after the first season), _Capriccioso_ (dropped in the second season), _Pas de Quatre_ (now done in a version by Keith Lester), and _Romantic Age_ (no longer in the repertoire). Leonide Massine had revived _The Fantastic Toy Shop_, _Capriccio Espagnol_, and _The Three-Cornered Hat_ (all out of repertoire). He had produced three new works, _Don Domingo_, _Aleko_, and _Mlle. Angot_, none of which was retained in the repertoire. Antony Tudor had revived _The Lilac Garden_, _Judgment of Paris_, _Dark Elegies_, _Gala Performance_, and had produced _Pillar of Fire_, _Romeo and Juliet_, _Dim Lustre_, and _Undertow_, none of which remain. Agnes de Mille had produced _Black Ritual_, _Three Virgins and a Devil_, and _Tally-Ho_, none of which is actively in the repertoire. José Fernandez had produced a Spanish work, _Goyescas_, which lasted only the first season. David Lichine had revived _Graduation Ball_, and had produced _Helen of Troy_ and _Fair at Sorotchinsk_ (the latter no longer in repertoire). Adolph Bolm had revived his _Ballet Mecanique_ (first season life only), produced _Peter and the Wolf_, a perennial stand-by, and the short-lived version of _Firebird_. John Taras had contributed _Graziana_, and Simon Semenoff a version of _Coppélia_ and _Gift of the Magi_, neither of the three existing today. Jerome Robbins’s _Fancy Free_ and _Interplay_ remain while his _Facsimile_ has been forgotten. Balanchine had revived _Apollo_, _Errante_, and had produced _Waltz Academy_, all of which have disappeared. In order to save the curious reader the trouble of any computation, this represents a total of fifty-one ballets either produced during my association with Ballet Theatre or else available at the time we joined hands. From this total of fifty-one, a round dozen are performed, more or less, today. A cursory glance will reveal that the repertoire was always deficient in classical works. They are the backbone of ballet. It is to be regretted that the Tudor ballets, which were the particular glory of Ballet Theatre, have been lost to the public.