In this godspeed to the sister company, Margot Fonteyn was, as usual, very much on the job, always the good colleague, wishing Fifield and Beriosova the same success in the States and Canada as she and her colleagues of the Covent Garden company had enjoyed. From Covent Garden also came David Webster, Louis Yudkin, and Herbert Hughes, “Freddy” Ashton, and Robert Irving, the genial and able musical director of the Ballet at Covent Garden, all to speed the sister company on its way, to give them tips on what to see, what to do, and also on what _not_ to do. The reader will, I am sure, realize what a difficult thing it was for the sister company to follow in the footsteps and the triumphant successes of the company from Covent Garden. A standard of excellence and grandeur had been set by them eclipsing any previously established standards that had existed for ballet on the North American continent. It is a moot question just what the public and the press of America expected from the Sadler’s Wells Theatre Ballet. For more than a year, in all publicity and promotion, with all the means at our command, we emphasized the differences between the two companies: in personnel, in principal artists, in repertoire. We also carefully pointed out the likenesses between them: the same base of operations, the same school, the same direction, the same moving spirit, the same ideals, the same purpose. The success of the company throughout the entire breadth of the United States and Canada magnificently proved the wisdom of their coming. The list of cities played is formidable: Quebec, Ottawa, Montreal, Toronto, Buffalo, Rochester, Cleveland, Detroit, East Lansing, Grand Rapids, Milwaukee, Minneapolis, Omaha, Des Moines, Denver, Salt Lake City, Seattle, Portland, Vancouver, B.C., San Francisco, San José, Sacramento, Fresno, Bakersfield, Los Angeles, San Antonio, Waco, Houston, Dallas, Shreveport, Little Rock, Springfield, Mo., Kansas City, Chicago, St. Louis, Nashville, Knoxville, Atlanta, Birmingham, Montgomery, New Orleans, Daytona Beach, Orlando, Miami, and Miami Beach, Columbia, Greensboro, Durham, Raleigh, Norfolk, Richmond, Washington--where for the first time ballet played in a proper theatre--Philadelphia, Pittsburgh, Columbus, Toledo, Cincinnati, Indianapolis, Syracuse, Troy, White Plains, Providence, Hartford, Boston, and New York City. Perhaps the most characteristic tribute to the company came from Alfred Frankenstein, the distinguished critic of the _San Francisco Chronicle_, who wrote: “This may not be the largest ballet company in the world, but it is certainly the most endearing.” There is no question that the mounting demand for the quick return of the company on the part of local managers and sponsoring organizations and groups throughout the country is another proof of the warmth of their welcome when they next come.