It begins to sound like an overworked cliché, but again we have that rare quality in a dancer: intelligence. Once again, intelligence coupled with striking beauty. Elvin’s interests include all the classics in literature, the history of art, philosophy, museums, and good Russian food. Already Elvin has had a film career, two motion pictures to date: _Twice Upon a Time_, by the makers of _Red Shoes_, and the latest, the story of the great British soprano, Nellie Melba, the title role of which is played by Patrice Munsel. While engaged on the second American tour of the Sadler’s Wells company, Violetta met an American, whom she has recently married. Talented far beyond average measure, Elvin is a true _ballerina_ in the tradition of the Russian school and is ever alert to improve her art and to give audiences something better than her best. _NADIA NERINA_ I cannot fail to pay my respects to the young Nadia Nerina, today another of the alternating _ballerinas_ of the company, with full _ballerina_ standing, whom I particularly remember as one of the most delightful and ebullient soloists of the company on its two American visits. An example of the wide British Commonwealth base of the personnel of the Sadler’s Wells company, Nadia Nerina is from South Africa, where she was born in 1927. It was in Cape Town that she commenced her ballet studies and had her early career; for she was a winner of the _South African Dancing Times_ Gold Medal and, when she was fifteen, was awarded the Avril Kentridge Shield in the Dance Festival at Durban. Moreover, she toured the Union of South Africa and, when nineteen, went to London to study at the Sadler’s Wells School. Very soon after her arrival, she was dancing leading roles and was one of the _ballerinas_ of the Sadler’s Wells Theatre Ballet. Such was her success in Rosebery Avenue, and such the wisdom of Ninette de Valois, that, within the year, Nerina was transferred to Covent Carden. Today, as I have pointed out, she has been promoted to full _ballerina_ status. It is a well-deserved promotion, for Nerina’s development has been as sure as it has been steady. I have seen her in _Le Lac des Cygnes_ since her ascendancy to full _ballerina_ rank, and have rejoiced in her fine technical performance, as I have in the quality of her miming--something that is equally true in Delibes’ _Sylvia_. It is characteristic of Ninette de Valois that she gives all her _ballerinas_ great freedom within the organization. One is permitted to go to Denmark, Norway, Sweden. Another to La Scala, Milan. Yet another to films. An example of this desire on “Madame’s” part to encourage her leading personnel to extend their experience and to prevent any spirit of isolation, is the tour Nerina recently made through her native South Africa, in company with her Sadler’s Wells partner, Alexis Rassine, himself a South African.