On the afternoon of January 6th (1906) a version of “Cinderella,” one of the most charming of Mr. Wilhelm’s creations, was staged, originally with a view only to _matinée_ performances, but it proved so successful that it went into the evening bill on February 5th. The creator of the ballet had treated the age-long legend of Cinderella with that respect for its mingled poetry and pathos which an artist of sympathy must always feel for one of childhood’s most appealing legends; and he provided Mlle. Génée once more with an opportunity for proving her remarkable gifts as an actress, fully in sympathy with the character and sufferings of the little heroine she impersonated. On May 14th, Delibes’ classic example of Ballet in its ideal form, namely, “Coppélia,” was produced specially for Mlle. Génée, and gave her, as the heroine, Swanilda, fresh opportunity for further revelations of her amazing accomplishments as a dancer and for her expressive acting; in which, by the way, she was admirably supported by Mr. Fred Farren in the character of the old doll-maker, Coppélia; and by Miss Dorothy Craske as Coppélia’s somewhat wavering lover. The production was a great success. How should it have been otherwise? Perfectly staged and perfectly performed, it is, with its haunting Slav rhythms and flowing _valse_ melodies, one of the most charming, and musically, one of the most expressive ballets in the world’s _répertoire_. This was followed on August 6th by one of the most exquisite productions the Empire had yet seen, a ballet by Mr. C. Wilhelm, entitled “Fête Galante,” which had been expanded from the opening scene of “Cinderella.” To see the “Fête Galante” was itself a liberal education in the art of stage effect. It was an ideal realisation of the art of Watteau, Lancret, and Fragonard. The very spirit of the period was caught, and it was as if all that one had learnt at secondhand of the people, the dress, the manners, dances, arts and music of the “Grand Century” in France had suddenly awakened into life, and become a living reality of which one was a living part. Yet, paradoxically, it was strangely dream-like still, even as are Watteau’s pictures. The scene represented a garden such as you see in so many of his paintings, and those of his school, primarily reminiscent of Pater’s “Conversation Galante” and Watteau’s “Fête Galante,” “L’amour au Théâtre Français,” and the “Terrace Party.” One of the young Court ladies reminded one of the central figure in the “Bal sous une Colonnade.” A minuet was in progress. All was stately and dream-like, made the more so by the music.