De Basil had been able to make but few additions to his repertoire during the lean and long South American hegira. These were _Yara_ and _Cain and Abel_. _Yara_ had been choreographed by Psota, to a score by Francisco Mignone. It was a lengthy attempt to bring to the stage a Brazilian legend. It had striking sets and costumes by Candido Portinari, and little else. _Cain and Abel_ was a juicy tid-bit in which David Lichine perpetrated a “treatment” of the Genesis tale to, of all things, cuttings and snippets from Wagner’s _Die Götter-Dammerung_. It was a silly business. The four works from the Marquis de Cuevas repertoire were given a wider public, and helped a bad situation. _Sebastian_, with an excitingly dramatic score by Gian-Carlo Menotti, his first for ballet, had been staged by Edward Caton, in a setting by Oliver Smith. It made for a striking piece of theatre. _The Mute Wife_ was a light but amusing comedy, adapted by the American dancer-choreographer, Antonia Cobos, from the familiar tale by Anatole France, _The Man Who Married a Dumb Wife_, to Paganini melodies, principally his _Perpetual Motion_, orchestrated by Vittorio Rieti. The third work, _Constantia_, was a classical ballet by William Dollar, done to Chopin’s _Piano Concerto in F Minor_, enlisting the services of Rosella Hightower, André Eglevsky, and Yvonne Patterson. Its title, confusing to some, referred to Chopin’s “Ideal Woman,” Constantia Gladowska, to whom the composer dedicated the musical work. Thanks to Ballet Associates in America, there was one new work. It was _Camille_, staged by John Taras, in quite unique settings by Cecil Beaton, for Alicia Markova and Anton Dolin. It was a balletic attempt to tell the familiar Dumas tale. In this case, the music, instead of being out of Traviata by Verdi to use stud-book terminology, consisted of Franz Schubert melodies, orchestrated by Vittorio Rieti. It was not the success one hoped and, after seeing a later one by Tudor, to say nothing of one by Dolin, I am more and more persuaded that _Camille_ belongs to Dumas and Verdi, to Rachel and Sarah Bernhardt, not to ballet. There was also an unimportant but fairly amusing little _Pas de Trois_, for Markova, Dolin, and Eglevsky, set by Jerome Robbins to the _Minuet of the Will o’ the Wisps_, and the _Dance of the Sylphs_, from Berlioz’ _The Damnation of Faust_. It was a burlesque, highlighted by the use of a bit of the _Rákoczy March_ as an overture, loud enough and big enough to suggest that a ballet company of gargantuan proportions was to be revealed by the rising curtain.