There has been, perhaps, undue emphasis placed upon Helpmann, the actor, with a corresponding tendency to overlook his dancing abilities. From the point of view of sheer technical virtuosity, there are others who surpass him. But technical virtuosity is not by any means all of a dancer’s story. I happen to know of dancers who, in my opinion, have excelled Nijinsky and Pavlova in these departments, but they were much lesser artists. It is the overall quality in a dancer that matters. Helpmann, I feel, is a dancer of really exceptional fluency, superb lightness, genuine musicality, and admirable control. He is one of the rare examples among male dancers to be seen about us today of what is known in ballet terminology as the _danseur noble_. It is the _danseur noble_ who is the hero, the prince, of classical ballet. As a mime and an actor in ballet he may be compared with Leonide Massine, but the quality I have mentioned Helpmann as having is something that has been denied Massine, who is best in modern character ballets. Sir Arthur Bliss, one of Britain’s most distinguished composers, and the creator of the scores to, among others, _Checkmate_ and _Miracle in the Gorbals_, has said: “Robert Helpmann breathes the dust of the theatre like hydrogen. His quickness to seize on the dramatic possibilities of music is mercurial. I was not at all surprised to hear him sing in _Les Sirènes_. It would seem quite natural to see him walk on to the Albert Hall platform one day to play a violin concerto.” It is always a pleasure to me to observe him in his varied roles and to watch him prepare for them. He leaves absolutely nothing to chance. His approach is always the product of his fine intelligence. He experiments with expression, with gesture, with make-up, coupling his reading, his study of paintings, with his own keen sense of observation. “Bobby” Helpmann and I have one great bond in common: our mutual adoration of Pavlova. Pavlova has, I know, strongly influenced him, and this influence is apparent in the genuine aristocracy of his bearing and his movement, in the purity of his style. There is a pretty well authenticated story about the first meeting between Helpmann and Ninette de Valois, after the former had arrived in London from Australia, and was looking for work at Sadler’s Wells. It was an audition. The choreographer at such times is personally concerned with the body of the aspirant, the extremities, the quality of movement, the technical equipment of the applicant, some revelation of his training and his style, if any. It is characteristic of Ninette de Valois’ tendency to do the unexpected that, in Helpmann’s case, she found herself regarding the “wrong end” of her subject. Her comment on this occasion has become historic. “I can do something with that face,” she said. She did.