_Façade_ was originally staged by Ashton for the Camargo Society in 1931, came to the Sadler’s Wells Ballet in 1935, was lost in the German invasion of Holland, and was restored in the present settings and costumes of John Armstrong in 1940. It is, of course, freely adapted from the Edith Sitwell poems, with the popular score by Sir William Walton. Fresh, witty, and humorous throughout, there is no suggestion of either provincialism or of being dated. Its highlights for me were the Tango, superbly danced by Frederick Ashton and Moira Shearer, who alternated with Pamela May, and the Yodelling Song with its bucolic milkmaid. _Apparitions_ perhaps bore too close a resemblance in plot to Massine’s treatment of the Berlioz _Symphonie Fantastique_, although the former is a much earlier work, having been staged by Ashton in 1933. Its story is by Constant Lambert; its music, a Lambert selection of the later music of Franz Liszt, re-orchestrated by Gordon Jacob. Cecil Beaton designed the extremely effective scenery and costumes. It was taken into the Sadler’s Wells repertoire in 1936. It provided immensely effective roles for Margot Fonteyn and Robert Helpmann. Strikingly successful was Ninette de Valois’ _The Rake’s Progress_. This is a six-scene work, based on William Hogarth’s famous series of paintings of the same name. Its story, like its music, is by Gavin Gordon. Its setting, a permanent closed box, subject to minor changes during the action, scene to scene, with an act-drop of a London street, is by the late Rex Whistler, as are the costumes, Hogarthian in style. It is a highly dramatic work, in reality a sort of morality play, perhaps, more than it is a ballet in the accepted sense of the term, but a tremendously important work in the evolution of the repertoire that is so peculiarly Sadler’s Wells. _Miracle in the Gorbals_ is another of the theatre pieces in the repertoire. The choreographic work of Robert Helpmann, it is based on a story by Michael Benthall, to a specially commissioned score by Sir Arthur Bliss. Its setting and costumes are by the British artist, Edward Burra. It was a wartime addition to the repertoire in the fall of 1944. Like _The Rake’s Progress_, _Miracle in the Gorbals_ is also a sort of morality play, with strong overtones of a sociological tract. Bearing plot and theme resemblances to Jerome K. Jerome’s _The Passing of the Third Floor Back_, it puts the question: “What sort of treatment would God receive if he returned to earth and visited the slums of a twentieth century city?” A realistic work, it deals with low-life in a strictly down-to-earth manner. As a spectacle of crowded tenement life, it mingles such theatrical elements as the raising of the dead, murder, suicide, prostitution. The Bliss music splendidly underlines the action. With all of its drama and melodrama, it was not, nevertheless, one of my favorite works.