Before David Webster returned to London, we discussed the matter of an early return for a longer stay. I pointed out that, with such an evident success, Sadler’s Wells could not afford to delay its return for still further and greater triumphs. Now, I emphasized, was the time to take advantage of the momentum of success; now, if ever, was the time, since the promotion, the publicity, the press notices, all were cumulative in effect. Webster, I knew, was impressed. I waited for his answer. But he shook his head slowly. “Sol,” he said, “it’s doubtful. Frankly, I do not think it is possible.” Meanwhile, I discussed the entire matter of the return with leading members of the company. All were of a single opinion, all of one mind. They were anxious and eager to return. Such are the workings of the Sadler’s Wells organization, however, that it was necessary to delay a decision as to a return visit until at least the 3rd or 4th of January, 1950, in order that the matter could be properly put before the British Arts Council and the British Council for their final approval. It should not be difficult for the reader to understand the anxiety and eagerness with which I anticipated that date. * * * * * It seems to me that during this period of suspense it might be well for me to sum up my impression of the repertoire that made up the initial season. The Sadler’s Wells Ballet repertoire for the first American season consisted of the following works: _The Sleeping Beauty_; _Le Lac des Cygnes_ (_Swan Lake_) in full; _Cinderella_, in three acts; _Job_; _Façade_; _Apparitions_; _The Rake’s Progress_; _Miracle in the Gorbals_; _Hamlet_; _Symphonic Variations_; _A Wedding Bouquet_; and _Checkmate_. The order is neither alphabetical nor necessarily in the order of importance. Actually, irrespective of varying degrees of success on this side of the Atlantic, they are all important, for they represent, in a sense, a cross-section of the repertoire history of the company. _The Sleeping Beauty_, in its Sadler’s Wells form, is a ballet in a Prologue and three acts. The story is a collaboration by Marius Petipa and I. A. Vsevolojsky, (the Director of the Russian Imperial Theatres at the time of its creation), after the Charles Perrault fairy tale. The music, of course, is Tchaikowsky’s immortal score. The scenery and costumes are by Oliver Messel. The original Petipa choreography was reproduced by Nicholas Serguëeff. It was the work which so brilliantly inaugurated the company’s occupation of the Royal Opera House, Covent Garden, on 20th February, 1946. Sadler’s Wells had previously revived the work in 1939, on a smaller scale, under the title _The Sleeping Princess_.