The conferences were long and many. Conferences are a natural concomitant of ballet. But there was a vast difference between these conferences and the hundreds I had had with the Russians, the Caucasians, the Bulgarians, and the Axminsters. Here were neither intrigues nor whims, neither suspicion nor stupidity. On the contrary, here was reasonableness, logic, frankness, fundamental British honesty. George Borodin, a Russian-born Englishman and a great ballet-lover, once pointed out that ballet is a medium that transcends words, adding “the tongue is a virtuoso that can make an almost inexhaustible series of noises of all kinds.” In my countless earlier conferences with other ballet directorates, really few of those noises, alas, really meant anything. At last, the affirmative decision was made and we arrived at an agreement on the repertoire for the American season, to include the full-length works, along with a representative cross-section, historically speaking, of the Sadler’s Wells repertoire of their shorter works. The matter settled, I left for home. On my return to New York, still other problems awaited me. The Metropolitan Opera House, the only possible New York stage on which Sadler’s Wells could appear, was faced with difficulties and perplexities, with other commitments for the period when the British visitors would be here. However, thanks to the invaluable cooperation and assistance of Edward Johnson, Alfred P. Sloan, and Mrs. August Belmont, it was decided that a part of the season should be given to Sadler’s Wells. Had it not been for their friendly, intelligent, and influential offices, New York might not have had the pleasure and privilege of the Sadler’s Wells visit. The road at last having been cleared, our promotional campaign was started and was limited to four weeks. The response is a matter of theatrical history. Here, for the first time in the United States, was a company carrying on the great tradition in classical ballet, with timely and contemporary additions. Here was a company with a broad repertoire based on and imbedded in the full-length classics, but also bolstered with modern works that strike deep into human experience. Here were choreographers who strove to broaden the scope of their art and to bring into their works some of the richness of modern psychology and drama, always balletic in idiom, with freedom of style, who permitted their dramatic imaginations to guide them in creating movement and in the use of music.