It was not nearly as easy and as simple as it sounds as I write it. It is beyond me fully to convey to the reader those qualities of tenacity of purpose, of driving energy, of fearless courage that this remarkable woman was forced to draw upon in the early years. There was no money; and before a single penny could be separated from her, it had to be melted from the glue with which she stuck every penny to the inside of her purse. Alicia Markova joined the company. Anton Dolin was a frequent guest artist. It was, in a sense, a Markova company, with the three most popular works: _Swan Lake_, _The Nutcracker_, and _Giselle_. But, most importantly, Ninette de Valois had that vital requisite without which, no matter how solvent the financial backing, no ballet company is worth the price of its toe-shoes, viz., a policy. Ninette de Valois’ policy for repertoire is codified into a simple formula: 1) Traditional-classical and romantic works. 2) Modern works of future classic importance. 3) Current work of more topical interest. 4) Works encouraging a strictly national tendency in their creation generally. The first constitutes the foundation-stone, technical standard, and historical knowledge that is demanded as a “means test” by which the abilities of the young dancers are both developed and inspired. The second, those works which both musically and otherwise have a future that may be regarded as the major works of this generation. The third, the topical and sometimes experimental, of merely ephemeral interest and value, yet important as a means of balancing an otherwise ambitious programme. The fourth is important to the national significance of the ballet. Such works constitute the nation’s own contribution to the theatre, and are in need perhaps of the most careful guidance of the groups. It was the classics which had, from the beginning, the place of priority: _Swan Lake (Act II)_, _Les Sylphides_, _Carnaval_, _Coppélia_, _The Nutcracker_, _Giselle_, and the full-length _Swan Lake_. In 1935, Markova left Sadler’s Wells to form her own company with Dolin. With Markova’s departure, the whole character of the Sadler’s Wells company changed. The Company became the Star. The company got along without a _ballerina_ and concentrated on its own personality, on developing dancers from its school, and on its direction. Creation and development continued.