So the tour went, breaking box-office records for ballet in many cities, including Buffalo, Milwaukee, Minneapolis, Seattle, Portland, Vancouver (where, for the eight performances, there was not a seat to be had four weeks before the company’s arrival), Los Angeles, the entire state of Florida, and Washington, where, as I have said, I had been successful in securing a genuine theatre, Loew’s Capitol, and where, for the first time ballet was seen by the inhabitants of our national capital with all the theatrical appurtenances that ballet requires: scenery, lights, atmosphere, instead of the mausoleum-like Constitution Hall, with its bare platform backed only by a tapestry of the Founding Fathers. So the tour went for twenty-two weeks in a long, transcontinental procession of cumulative success, with the finale in New York City. Here, because of the unavailability of the Metropolitan Opera House, since the current opera season had not been completed, it was necessary to go to a film house, the Warner Theatre, the former Strand, where Fokine and Anatole Bourman had, in the early days of movie house “presentations,” staged weekly ballet performances, sowing the seeds for present-day ballet appreciation. The Warner Theatre was far from ideal for ballet presentation, being much too long for its width, giving from the rear the effect of looking at the stage through reversed opera glasses or binoculars. Also, from an acoustical point of view, the house left something to be desired as it affected the sound of the exceptionally large orchestra. But it was the only nearly suitable house available, and Ninette de Valois, who had returned to the States for the Boston engagement, and had remained through the early New York performances, found no fault with the house. Among the many problems in connection with the presentation of ballet, none is more ticklish than that of determining on an opening night programme in any metropolitan center, particularly New York. Many elements have to be weighed one against the other. Should the choice be one of a selection of one-act ballets, there is the necessity for balancing classical and modern and the order in which they should be given, after they have actually been decided on. In the case of the Sadler’s Wells companies, featuring, as they do, full-length works occupying an entire evening in performance, there is the eternal question: which one? The importance of the first impression created cannot be overrated. More often than not, in arriving at a decision of this kind, we listen to the advice of everyone in the organization. All suggestions are carefully considered, and hours are spent in discussion and the exchange of ideas, and the reasons supporting those ideas.