There was an extensive repertoire of modern works by Frederick Ashton, Ninette de Valois, and the rising young John Cranko, and others. The Ashton works include _Façade_, the Ravel _Valses Nobles et Sentimentales_; _Les Rendez-Vous_, to Auber music arranged by Constant Lambert; and the charming _Capriol Suite_, to the music by Philip Heseltine (Peter Warlock), inspired by Arbeau’s _Orchesographie_. There were three works by Andrée Howard: _Assembly Ball_, to the Bizet Symphony in C; _Mardi Gras_; and _La Fête Etrange_. Celia Franka had an interesting work, _Khadra_, to a Sibelius score, with charming Persian miniature setting and costumes by Honor Frost. The young South African John Cranko, who had been a member of the Covent Garden company in the first New York season, had a number of extremely interesting works, including _Sea Change_; and Ninette de Valois had revived her _The Haunted Ballroom_, to a Geoffrey Toye score, and the Lambert-Boyce _The Prospect Before Us_. There were also sound classics, including _Swan Lake_, in the second act version. The company, under the direction of Ninette de Valois, had a fine dancer, Peggy van Praagh, as ballet mistress. It occurred to me that, by adding new elements and reviving full length works, it would be an excellent thing to bring the company to the United States and Canada for a tour following upon that of the Covent Garden company. I discussed the matter with Ninette de Valois and David Webster, both of whom were favorable to the idea; and, since it was impossible for the Covent Garden company to come over for a third tour at that time, they urged me to give further consideration to the possibility. On my next visit to London, I went over matters in detail with George Chamberlain, Clerk to the Governors of Sadler’s Wells, and himself the opposite number at the Sadler’s Wells Theatre to David Webster at Covent Garden. I found Chamberlain equally cooperative and helpful, despite the fact he has a wide variety of interests and responsibilities, including the Sadler’s Wells Opera Company, the Old Vic, and the Sadler’s Wells School. We have become close friends. Following our initial conferences, we went into a series of them, in conjunction with Ursula Moreton, at the time “Madame’s” assistant at Sadler’s Wells, and Peggy van Praagh, the company’s ballet mistress. As a result of these discussions, it was agreed to increase the size of the dancing personnel of the company from thirty-two to thirty-six, and to bring to North America a repertoire of fourteen ballets, including one full-length work, and to add to the roster one or two more principal dancers. Handshakes all round sealed the bargain, and a contract was signed for a twenty-two week season for 1951-52.