The ballet was a great success with the public, and a happy comment by a leading critic was as follows: “Within the charming framework of the four admirably painted scenes by Ryan there is a continuous procession of ballet incident, the costumes quaint, picturesque, poetic, splendid, and nevertheless suggestive always of old Spain. Mr. Howard Russell, the designer, deserves great praise for the fancy and versatility which he has been able to show without proving unfaithful to his theme. While his beautiful dresses give rare variety and character to the dances of maidservants, pages, millers, grape-gatherers, brigands, wood-nymphs, in the earlier portions of the piece, they are seen to really magnificent effect in the grand gathering of all the Terpsichorean forces of the theatre in the final tableau. The stage organisation of the Alhambra is always good. Nowhere do we see better mass dancing; and nowhere either do the dancers receive more assistance from the musician. M. Jacobi’s ballet music is as sympathetic as its tunefulness is inexhaustible. This is M. Jacobi’s eighty-ninth ballet here.” That last remark may come as a revelation to those who do not realise how much of ballet we have had at two London theatres in the past thirty years. “Don Quixote” was M. Jacobi’s “eighty-ninth ballet” at the Alhambra, and--there were other Jacobian productions to follow! Mr. Alfred Moul in 1894 became the General Manager of the Alhambra and the evidences of his long associations with the dramatic and lyric stage were quickly apparent in the series of brilliant successes with Ballet which now were placed to the credit of the historic house of which he had assumed control. A marked success in the summer of the same year was “Sita,” the story of which dealt with an Indian girl’s hopeless love for the accepted lover of her master’s daughter. A grand spectacular ballet, on the familiar theme of “Ali Baba and the Forty Thieves,” was the sensation of the close of 1894, more particularly owing to the introduction of an “aerial ballet” by the well-known Grigolati troupe. The treatment of the story was on conventional lines, naturally, but the ballet was gorgeously staged, and introduced an especially attractive dancer, Signorina Cecilia Cerri, while Mlle. Louise Agoust, as Morgiana, added to the laurels she had already won in other productions as a first-rate mime of dramatic character. “Bluebeard” was another popular success on familiar lines; and “Rip Van Winkle”--with Mr. Fred Storey, masterly as Rip--yet another, towards the end of 1896.