Following Mlle. Génée’s departure for America, and Mlle. Kyasht’s appearance in “Coppélia,” came the production on October 19th, 1908, of a ballet in five scenes by Lieut.-Col. Newnham-Davis, entitled “A Day in Paris,” produced by Mr. Fred Farren, with music by Mr. Cuthbert Clarke, the entire production being designed and supervised by Mr. C. Wilhelm, who was at his happiest in invention and control of colour in the prismatic beauty of the final tableau of the Artists’ Ball. On the occasion of her previous appearance Mlle. Kyasht’s name had been printed in the programme as Mlle. Lydia Kyaksht, and I remember well the humorous dismay the late Mr. H. J. Hitchins expressed to me as he asked: “How _can_ one pronounce a name like that?” and the eagerness with which he welcomed the suggestion that it would be easier if the second “k” were omitted. Kyasht it became, and it is as Mlle. Kyasht that we shall always remember the handsome dancer who was first of the Russians to win a following in London. She had, of course, received her training at the Imperial Theatre, Petrograd, to which she had been attached some time, appearing there for some eight months each year, and at Monte Carlo and other fashionable centres for the remaining months, before she made her London _début_. She has little of that vehemence and abandon which characterises so many of the modern Russian school, but she has _au fond_ the same technique, a finely formed and balanced figure, and personal beauty, and her first appearances with that fine dancer, M. Adolf Bolm, in national dances and _pas de ballet_ evoked very cordial admiration. “A Day in Paris” was notable not only for the appearance of the new Russian _première_ in a couple of _pas seuls_ and an extremely charming _Danse Russe_, but for the brilliant acting and step-dancing of Mr. Fred Farren, who as a Montmartre student freakishly officiating as “a man from Cook’s” to a party of tourists, proved himself a born comedian; while in association with that lithe and graceful dancer, Miss Beatrice Collier, his _Danse des Apaches_--a dance without the charm of beauty but undeniably clever--was one of the “sensations” of the production, so much so that the dancers became in much request for entertaining at social functions that season, as Tango performers have been since. Another member of the company, who, though but a child, achieved a marked success, was Miss Phyllis Bedells, who did some wonderful toe-dancing with, and without, a skipping rope. The ballet was one of the liveliest and “jolliest” of many such topical and essentially “modern” entertainments at the Empire, and it ran from October 1908, well into the next summer.