I was to be the guest of David Webster, the Administrator of Covent Garden, who met me at the door and, after a brief chat, escorted me to my seat. My eyes traveled around the famous and historic Opera House, only recently saved from the ignominy of becoming a public dance hall. Here it was, shining and dignified in fresh paint, in damask, and in the new warm red plush _fauteuils_; poor though Britain was, the house had just been remodelled, redecorated, reseated, with a new and most attractive “crush bar” installed. The depression I had felt earlier in the day vanished completely. Now that evening had come, there was a different aspect, a changed atmosphere. I looked at the audience that made up the sold-out house. From the top to the bottom of the great old Opera House they were a happy, relaxed, anticipatory people, ready to be entertained and stimulated. In the stalls, the audience was well-dressed and some of the evening frocks were, I felt, of marked splendor. But the less expensive portions of the house were filled, too, and I remembered something that great director, Ninette de Valois, who had made all this possible, had said way back in 1937: “The gallery, the pit [American readers should understand that the “pit” in the British theatre is usually that part of the house behind the “stalls” or orchestra seats, and is not, as in the States, the orchestra pit where the musicians are placed] and the amphitheatre are the basis and backbone of the people s theatre.... That they are the most loyal supporters will be maintained with deep appreciation by those who control the future of the ballet.” There was, as I have said, an anticipatory atmosphere on the part of the audience, as if the temper of the people had become graver, simpler, and more concentrated; as if, during the war, when the opportunities for recreation and amusement were more restricted, transport more limited, the intelligence craved and sought those antidotes to a troubled consciousness of which ballet and its allied arts are the most potent. While I relaxed and waited for the rising curtain with that same anticipatory glow that I always feel, yet, somehow, intensified tonight, I reflected, too, on the miracle that had been wrought. I remembered David Webster had told me how, only the year before, the company was preparing for a good-will tour to South America, and how the sudden end of the war had made that trip impracticable and unnecessary. It had become more urgent to have the company at home. Negotiations had been initiated between the Sadler’s Wells Ballet, the British Arts Council, and Boosey and Hawkes, who had taken over the Covent Garden lease, for the Sadler’s Wells Ballet to make its headquarters at Covent Garden, where it would be presented by the Covent Carden Opera Trust. Having been turned into a cheap dance hall before the war, Covent Garden’s restoration as a theatre devoted to the finest in opera and ballet required very careful planning.