The outstanding quality in Nerina’s dancing for me is the sheer joy she brings to it, a sort of love for dancing for its own sake. In everything she does, there is the imprint of her own strong personality, her vitality, and the genuine elegance she brings to the use of her sound technique. _ROWENA JACKSON_ During the first two American tours of the Sadler’s Wells Ballet, a young dancer who attracted an unusual amount of attention, particularly in the Ashton-Lambert _Les Patineurs_, for her remarkable virtuosic performance and her multiple turns, was Rowena Jackson. Today, Rowena Jackson is the newest addition to the Sadler’s Wells list of _ballerinas_. Rowena Jackson is still another example of the width of the British Commonwealth base of the Sadler’s Wells organization, having been born in Invercargil, New Zealand, on the 24th March, 1926, where her father was postmaster. Her first ballet training was at the Lawson-Powell School, in New Zealand. It was in 1947 that the young dancer joined the Sadler’s Wells Ballet. This rise of the British dancer more than fulfils the prophecy of The Swan. It was thirty years ago that Pavlova said: “English women have fine faces, graceful figures, and a real sense of poetry of dancing. They only lack training to provide the best dancers of the world.” She went on: “If only more real encouragement were given in England to ballet dancers the day would not be far distant when the English dancer would prove a formidable rival to the Russians.” Now that the British dancer has been given the encouragement, the truth of Anna Pavlova’s prophecy is the more striking. As I have said, Rowena Jackson attracted attention throughout North America in _Les Patineurs_, gaining a reputation for a surpassing technical brilliance in turns. These turns, known as _fouetées_, I have mentioned more than once. Legend has it that Jackson can do in excess of one hundred-fifty of them, non-stop. It is quite incredible. Brilliance is one thing. Interpretation is another. When I saw Jackson in _Le Lac des Cygnes_, my admiration for her and for Ninette de Valois soared. Jackson’s Swan Queen proved to me that at Sadler’s Wells another _ballerina_ had been born. (I nearly wrote “created”; but _ballerinas_ are born, not made). As the Swan Queen she was all pathos and softness and tenderness and protectiveness; to the evil Black Swan, Odile, she brought the hard brittleness the role demands. Rowena Jackson’s future among the illustrious of the world of ballet seems assured, and I shall watch her with interest, as I am sure will audiences. _SADLER’S WELLS THEATRE BALLET_ While I was in London after the close of the first American tour of the Sadler’s Wells Covent Garden Ballet, I paid a visit to the Sadler’s Wells Theatre, the cradle of the organization.