It has been a source of regret to me that on the 1953 American visit of the Sadler’s Wells Ballet, “Bobby” Helpmann is not a regular member of the company. It is not the same without him. I have said that perhaps undue emphasis has been put on Helpmann, the actor. If this is true, it is only because of “Bobby’s” amazing versatility: as dancer, as choreographer, as actor, as stage-director. He can turn at will from one medium to the other. As actor, it should not be forgotten that he has appeared with equal success in revues (as a mimic); in Shakespeare (both on stage and screen); in plays ranging from Webster and Bernard Shaw to the Russian Andreyev. Most recently, he has acted with the American Katherine Hepburn, and has scored perhaps his most outstanding directorial success to date in his superlatively fine mounting of T. S. Eliot’s _Murder in the Cathedral_, at the Old Vic. I am looking forward to bringing “Bobby” to America in the not too far distant future in a great production of a Shakespeare work which I am confident will make theatrical history. “Bobby” Helpmann, as I have pointed out, is more than a dancer: he is a splendid actor, a fine creator, a distinguished choreographer, an intelligent human being. His is a friendship I value; he is alive and eager, keen and shrewd, with a ready smile and a glint in his eye. For “Bobby” has a happy way with him, and whether you are having a meal with him or discussing a point, you cannot help reacting to his boyish enthusiasm, his zeal for his job, his flair for doing it. My memories of dinners and suppers with the “inseparables,” to which I have often been invited, are treasured. The “inseparables” were that closely-linked little group: Fonteyn, Ashton, Helpmann, with de Valois along, when she was in town and free. The bond between the members of the group is very close. It was in Chicago. It was mid-tour, with rehearsals and conferences and meetings for future planning. We were at breakfast. “Madame” suddenly turned to Helpmann. “Bobby,” she said, with that crisp tone that immediately commands attention. “Bobby, I want you to be sure to be at the Drake Hotel to give a talk to the ladies at one o’clock _sharp_. Now, be sure to come, and be sure to be there on time.” “How, in heaven’s name,” replied Helpmann, “can I possibly be in two places at one time? You told me I shall have to be at the Public Library at one sharp.” De Valois regarded him for a long moment. “You astound me, Bobby,” she finally said. “Did I tell you that? Very well, then, let it be the Public Library. I shall take the Drake Hotel. But watch out, make sure you are there on time.” Ninette de Valois not only did something with “that face.” She also made good use of that intelligence. I last saw “Bobby” Helpmann dance at the Royal Opera House, Covent Garden, on Coronation Night, when he returned as a guest artist with the Sadler’s Wells Ballet, to appear with Margot Fonteyn in _Le Lac des Cygnes_, Act Two.