There was plenty of novelty and ample charm in “All the Year Round,” a ballet in seven scenes, written and produced by Mr. Charles Wilson, with bright and appropriate music by the well-known _chef d’orchestre_ of Drury Lane, Mr. James Glover, on January 21st, 1904, by which time the late Mr. George Scott was Manager. It was one that should always be worth revival, with topical modifications, and though a genuine ballet with a central idea connecting its varied scenes, it seemed in form somewhat to herald the _revue_ which has since become such a craze. It was what one might call a ballet in free form. The chief theme was the whim of a young French Marquis, who, having invited friends to a dinner-party and engaged a Hungarian band for their entertainment, himself turns up late to find that his _chef_ is about to resign because the dinner is spoilt, and the servants are on the verge of striking, while the guests are dancing. Annoyed at a clock which reminds him of his unpunctuality, he orders its destruction. The band now “strikes” and as everything is topsy-turvy, the young host--not too blasé to enjoy any new freak--suggests that servants and guests shall change places. This done, they welcome in the New Year, and on the departure of the last guest, the butler brings his master a large Calendar which the young man is mockingly about to destroy also, when the Spirit of Happiness descends from it, and as he pursues her, she asks him to learn how he may obtain Happiness throughout the dawning year--thus paving the way for a sort of _revue_ of the Months. The scheme gave scope for a number of charming and novel effects and topical reference to various old festivals, such as St. Valentine’s Day, St. Patrick’s Day; various sports and pastimes; a river scene, a seaside bathing scene, an August Bank Holiday Revel. But the greatest charm of the production was in scenes where a more poetic fancy had had free play, as in the May scene, with the approach of Spring, a glory of white and pink may, lilac and laburnum, and heralding the blossoms of early summer, finishing with a ballet of swallows and May flowers. The Autumnal scene, with its ballet of wheat, cornflowers, poppies and autumn leaves, was a charming incident and provided an excellent contrast to the earlier scene in the warmth of its colouring. The November scene was, rightly enough, placed in London, on the Thames Embankment by Cleopatra’s Needle, amid a typical London Fog; while that of December closed with a grand Christmas ballet of holly and mistletoe and icicles, with snow-clad tree and hedgerow in the background.