Our farewell performance, with both Fokines dancing, took place at Charles Dillingham’s Hippodrome, on Sunday evening, 29th May, 1920. For this occasion, the Fokines appeared together, by popular request, in the Harlequin and Columbine variation from his own masterpiece, _Carnaval_; Fokine alone danced the _Dagestanskaja Lezginka_, and staged a work he called _Amoun and Berenis_, actually scenes from his _Une Nuit d’Egypte_, which Diaghileff called _Cléopâtre_, adapted, musically, from Anton Arensky’s score for the ballet. I quote Fokine’s own libretto for the work: Amoun and Berenis are engaged in the sport of hunting. She represents Gazelle, and he the hunter who wounds her in the breast. The engaged couple plight each other to everlasting love. But soon Amoun betrays his bride. He falls in love with Queen Cleopatra. Not having the opportunity of coming near his beloved queen, he sends an arrow with a note professing his love and readiness to sacrifice his life for her. Notwithstanding the tears and prayers of Berenis, he throws himself into the arms of Cleopatra, and, lured by her tenderness, he accepts from her hands a cup of poison, drinks it and dies. Berenis finds the corpse of her lover, forgives him and mourns his death. The Hippodrome version consisted of “The Meeting of Amoun and Berenis” “The Entrance of Cleopatra,” by the orchestra; “The Dance Before Cleopatra”; “The Betrayal of Amoun and the Jealousy of Berenis”; “The Hebrew Dance,” by the orchestra; “The Death of Amoun and the Mourning of Berenis.” In 1927, I presented the Fokines with their “American Ballet,” composed of their pupils, at the Masonic Auditorium, in Detroit, and on subsequent tours. Prominent professional dancers were added to the pupil roster. That summer, with the Fokines and their company, I introduced ballet to the Lewisohn Stadium Concerts in New York, for three performances, to a record audience of forty-eight thousand people. I also presented them for four performances at the Century Theatre in Central Park West. The Stadium programmes included _Les Elves_, arranged to Mendelssohn’s _Overture to a Midsummer Night’s Dream_, with the addition of the same composer’s Andante and Allegro from the _Violin Concerto_. Also _Medusa_, a tragedy set to Tchaikowsky’s _Symphonie Pathétique_, a work for four characters, the title role being danced by Vera Fokina, and the sea god Poseidon, who fell in love with the beautiful Medusa, danced by Fokine. It was during one of the Stadium performances, I remember, I had occasion to go to the Fokines’ dressing-room on some errand. I knocked, and believing I heard an invitation to enter, opened the door to discover the two Fokines dissolved in tears of happiness. So moved was Michel by Vera’s performance of the title role in _Medusa_, that they were sobbing in each other’s arms.