The _New York Times_ review of Wigman’s opening performance did not appear. Since John Martin had urged me to bring Wigman to America, it was the more baffling. Prior to Martin’s engagement by the _New York Times_, that remarkable and beloved figure, William (“Bill”) Chase, for so many years the editor of the music department of the _Times_ and formerly the music critic of the _Sun_, and to the end of his life my very good friend, had “reported” the dance. Since he insisted he knew nothing about it, he never attempted to criticize it. I had frequently suggested to “Bill” that the _Times_ should have a qualified person at the head of a _bona fide_ dance department. Eventually John Martin was engaged, and I am happy to have been able to play a part in the beginnings of the change on the part of the American press. I have mentioned that the change was gradual, for Martin’s articles at first were unsigned and had no by-line. In the early days, Martin merely reported on dance events. To be sure, at that time, there was little enough to report. Then Leonide Massine was brought to the Roxy Theatre by the late Samuel Rothapfel to stage weekly presentations of ballet; and then there was something about which to write. Since then John Martin has helped materially to spread the gospel of ballet and dance. It was at approximately the Massine-Roxy stage of the dance criticism development that I searched the _Times_ for the Wigman notice. Most of the newspapers carried rave reviews, and because they did, I was the more mystified, since in the _Times_ there was not so much as a mention even that the event had taken place. However, out-of-town friends, including the late Richard Copley, well-known concert manager, telephoned me from New Jersey to congratulate me on the glowing review they had read in the Suburban Edition, and read it to me over the telephone. There were dozens of other calls from suburban communities to the same effect. I called the editorial department of the _Times_ to enquire about its omission from the New York City edition. There was some delay, but eventually I was informed that it would seem that the night city editor had read John Martin’s story in the Suburban Edition, saw that it carried no by-line, no signature; read its glowing and enthusiastic account of the Wigman _première_; and because it was so fulsome in its enthusiasm, assumed it was merely a piece of press-agent’s ballyhoo, and forthwith pulled it out of all other editions.