She returned to Europe with Diaghileff and was his _ballerina_ from 1917 to 1919, earning for herself in London a popularity second to none. But, bored again by success, she was suddenly off again to America. This time, the venture was even less noteworthy, for it was a Shubert musical comedy--and a rather dismal failure. “I was a flop,” was Lopokova’s comment, “and thoroughly deserved it.” In 1921, she returned to Diaghileff, and danced the Lilac Fairy in his tremendous revival of _The Sleeping Princess_. During the following years, up to the Diaghileff Ballet’s final season, Lopokova was in and out of the company, appearing as a guest artist in the later days. After a short and unhappy marriage with one of Diaghileff’s secretaries had been dissolved, Lopokova became Mrs. J. Maynard Keynes, the wife of the brilliant and distinguished English economist, art patron, friend of ballet and inspirer of the British Arts Council. On Keynes’s elevation to the peerage, Lopokova, of course, became Lady Keynes. Invariably quick in wit, impulsive, possessor of a genuine sense of humor, Lady Keynes remains eager, keen for experiment, restless, impish, and still puckish, always ready to lend her enthusiastic support to ventures and ideas in which she believes. _MARIE RAMBERT_ One of the most potent forces in the development of ballet in England is Marie Rambert. She was a pioneer in British ballet. She still has much to give. Marie Rambert--unlike her London colleagues: Karsavina, Kyasht, and Lopokova--was not a Maryinsky lady. Born Miriam Rambach, in Poland, she was a disciple of Emile Jacques Dalcroze, and was recommended to Diaghileff by her teacher as an instructor in the Dalcroze type of rhythmic movement. The Russians who made up the Diaghileff Company were not impressed either by the Dalcroze method or its youthful teacher. They rebelled against her, taunted her, called her “Rhythmitchika,” and left her alone. There was one exception, however. That exception was Vaslav Nijinsky, who was considerably influenced by his studies with Rambert, an influence that was made apparent in three of his choreographic works: _Sacre du Printemps_, _Afternoon of a Faun_ (this, incidentally, the first to show the influence), and _Jeux_. Despite the attitude of the Russian dancers, it was her contacts with the Diaghileff Ballet that aroused Rambert’s interest in ballet. She had had early dancing lessons in the Russian State School in Warsaw; now she became a pupil of Enrico Cecchetti. In 1920, she established her own ballet school in the Notting Hill Gate section of London, and it was not long after that the Ballet Club, a combination of ballet company with the school, was founded, an organization that became England’s first permanent ballet company.