There was a brief spring season in New York, preceded by a week at the Forrest Theatre in Philadelphia, where Massine’s first “American” ballet had its dress rehearsals and first performances. This was _Union Pacific_, a four-scened work in which Massine had the collaboration of the distinguished American poet, Archibald MacLeish, on the story; Albert Johnson, on the settings; Irene Sharaff, with costumes; and a score, based on American folk-tunes, by Nicholas Nabokoff. It was the first Russian ballet attempt to deal with the native American scene and material, treating the theme of the building of the first transcontinental railway. We gave its first performance on the night of April 6, 1934, and the cast included Massine himself, his wife Eugenia Delarova, Irina Baronova, Sono Osato, David Lichine, and André Eglevsky, in the central roles. It was Massine’s prodigious Barman’s dance that proved to be the highlight of the work. The balance of the company eventually returned to Europe for their summer seasons in London and Paris, and to stage new productions. Back they came in the autumn for another tour. The problem of a proper theatre for ballet in New York had not been solved; so I took the company from Europe to Mexico City for an engagement at the newly remodeled Palacio des Bellas Artes. There were problems galore. Once again I fell back on my right-hand-bower, Mae Frohman, rushed her to Mexico to clear them. Back from Mexico by boat to New York, with a hurried transfer for trains to Toronto, and a long coast-to-coast tour. The New York engagement that season was brief: five performances only. The only theatre available was the Majestic, whose stage is no less cramped, and whose auditorium provides no illusion. During this brief season a new work by Massine was presented: _Jardin Public_ (_Public Garden_). It was based on a fragment from André Gide’s _The Counterfeiters_, in a scenario by Massine and Vladimir Dukelsky (Vernon Duke) who supplied the music. It was not one of Massine’s most successful works by any means. But the _première_ did provide an amusing incident. Danilova was cast as a wealthy woman; Massine and Toumanova as The Poor Couple. On the opening night, Danilova, who showed her wealthy status by dancing a particularly lively rhumba, lost her underpants while dancing in the center of the stage. The contretemps she carried off with great aplomb. But, on her exit, she did not carry off the underwear, which remained in the center of the stage as a large colored blob. Danilova’s exit was followed by the entrance of Toumanova and Massine, clad in rags as befitted The Poor Couple. Toumanova, fixing her eyes on the offending lingerie, picked it up, examined it critically, and then, as if it were something from the nether world and quite unspeakable, dramatically hurled it off-stage in an attitude of utter disgust, as if it were a symbol of the thing she most detested: wealth.