It was a four-day and three-night journey from Winnipeg to Boston, in sub-zero, stormy weather. The intense cold slowed the locomotives and froze the storage batteries, with the result that save for the lounge-bar car, the cars were in complete darkness and were dimly lighted at bed-time by a few spluttering candles. The severe cold had also caused the steam lines in the train to freeze, so that the temperature inside the cars was such that all made the journey wrapped in overcoats and blankets, wearing the heterogeneous collection of ear-lapped caps which they had purchased, even to North-west Canadian wool and fur shakos that blossomed in Winnipeg. Somewhere east of Chicago the “Sadler’s Wells Special” got itself behind the wreck of a freight train which had blocked the tracks, necessitating a long detour over the tracks of another railway, causing still further delays. Nine hours late, the ice-covered train bearing a company that had gone through the most gruelling train adventure of the tour, limped into Boston’s South Station. There followed a tense period, for the minimum time required to set and light _The Sleeping Beauty_ is twelve hours. It was another case of “touch and go.” Two hours were required to get the train broken up and all the scenery cars placed for unloading; then the procession of great trucks from the cars to the Opera House commenced; there followed the unloading, the taking-in, the hanging, the setting, the installation of all the heavy and complicated lighting equipment, for the theatres of America, for the most part, are either poorly equipped or not at all, and the Boston Opera House is in the latter category. Hundreds of costumes had to be unpacked, pressed, and distributed. But such is the efficiency of the Sadler’s Wells organization, its general stage director, the late Louis Yudkin, and our own American staff, together with the valued assistance of the Boston local manager, Aaron Richmond, that the curtain rose at the appointed minute. I had gone to Boston for the duration of the engagement there. Bearing in mind the extensive travelling the company had had, climaxed by the harrowing journey from Winnipeg, I was concerned about their fatigue and also how it might affect the quality of the performance. My memory of the Boston _première_ of _The Sleeping Beauty_ is that it was one of the very best I had seen anywhere. Sir Oliver Franks, the British Ambassador, and Lady Franks, together with Lord Wakehurst, head of the English-Speaking Union, one of the Governors of the Covent Garden Opera Trust, and now Governor-General of Northern Ireland, came to Boston for the opening, and greeted the company at a delightful supper and reception following the performance. Lord Wakehurst has been a veritable tower of strength in the development of international cultural relations during the Sadler’s Wells tours; together with Lady Wakehurst, he is a charming host whose hospitality I have enjoyed in their London home.