The musical side of the Sadler’s Wells Theatre Ballet revealed the same high standards of the organization, under the direction of that splendid young British conductor, John Lanchbery. Lanchbery, a thorough and distinguished musician, not only was a fine conductor, but an extremely sensitive ballet conductor, which is not necessarily the same thing. So admired was he by the orchestra that, in San Francisco, the players presented him with a lovely gift in a token of appreciation. During the entire association with the Sadler’s Wells Theatre Ballet there was always the warm cooperation of George Chamberlain, and the fine executive ability and personal charm of their tour manager, Douglas Morris. It is my sincere hope that, following the season 1953-54, they will be able to make an even more extended tour of this continent. By that time, some of the company’s younger members will have become more mature, and the repertoire will have been strengthened and increased by the accretion of two years. There is the seemingly eternal charge against ballet dancers. They are either “too young” or else “too old.” The question I am forced to ask in this connection is: What is the appropriate age for the personnel of a ballet company, for a dancer? My answer is one the reader may anticipate from previous references to the subject in this book: Artistry knows and recognizes no age on the stage. Spiritually the same is true in life itself. It is, of course, possible that, by that time, there may be some who will refrain from referring to the members of the company as “juniors,” and will realize that they are aware of the facts of life. Three years will have elapsed since their first visit. During all this time they will have been dancing regularly five or six times a week; will have behind them not only London successes, but their Edinburgh Festival and African triumphs as well. At the close of the American Festival Season in Rosebery Avenue, the company entrained for Liverpool, there to embark in the _Empress of France_. It was a gay crossing, but less gay than had been anticipated. Originally, the _Empress_ was to have carried H.R.H. Princess Elizabeth, and her husband, the Duke of Edinburgh, on their Royal Visit to the Dominion of Canada. The ship’s owners, the Canadian Pacific Steamship Company, had constructed a specially equipped theatre on the top deck, where the company was to have given two performances for the Royal couple. H.R.H., Princess Margaret is the Honorary President of the Sadler’s Wells Theatre Ballet, and there is considerable royal interest in ballet. Unfortunately, the serious illness of the King, and his operation, necessitated a last moment change of plans on the part of Princess Elizabeth and her husband, who made their crossing by plane. At the last moment before sailing, the theatre was dismantled and removed.