Yet once again Mlle. Adeline Génée returned to the scene of her former triumphs to achieve one more, this time in the famous _ballet-divertissement_ from the third act of Meyerbeer’s opera, “Roberto il Diavolo,” which was produced by her uncle, M. Alexandre Génée, on July 3rd, 1909, the _mise en scène_ and costumes being designed and supervised by Mr. C. Wilhelm. Once more we had an opportunity of enjoying a perfect representation of one of the classics of Ballet, in which Mlle. Adeline Génée appeared as the Spirit of Elena the wicked abbess, who, with the spectres of the dead and buried nuns, haunts a ruined Sicilian Convent. It was a fine and _spirituelle_ performance, and a fitting crown to what we may perhaps be allowed to call Mlle. Génée’s Imperial career. This was followed on October 9th, 1909, by “Round the World,” a new dramatic ballet in six scenes, by Lieut.-Col. Newnham-Davis and Mr. C. Wilhelm, the entire production being designed and supervised by the latter, and the dances arranged by Mr. Fred Farren, who himself played the part of a resourceful chauffeur, while Mlle. Lydia Kyasht impersonated the lovely heroine, Natalia, a Russian gipsy girl, and Miss Phyllis Bedells her younger brother, Dmitri. The story concerned the winning of a wager by the hero, a Captain Jack Beresford, (Mr. Noel Fleming), who has to circle the world in a month; and the course of his adventures took us from the grounds of the Monaco Club to the Place Krasnaia, Moscow, on the occasion of a wonderfully realised national fête, where he rescues Natalia and her brother from Tzabor, a brutal proprietor of a troupe of gipsy dancers. The third scene was on the Siberian railway; the fourth a lovely scene at Tokio, in the Garden of Ten Thousand Joys, where the hero is nearly poisoned; the fifth, ’Frisco, in “One-eyed Jack’s” saloon, with a capital _Duo Mexicain_ for Mr. Fred Farren and pretty Miss Unity More; the sixth and last scene being laid in the foyer of the Empire Theatre. The production was a sort of cinema-ballet in the variety of its scenes and the excitement of its story, and gave scope for a number of attractive and characteristic dances from Mlle. Kyasht, Mr. Fred Farren and Miss Phyllis Bedells. It proved so popular that it ran on into 1910, when, on March 21st of that year, it went into a second edition called “East and West.” Mlle. Kyasht and M. Adolf Bolm, who, early in May, 1910, appeared in a “Fantaisie Chorégraphique,” a series of charming dance-idylls, produced by M. Bolm, are remarkable for that high-voltage dancing, that volcanic energy and rapidity yet grace of movement, characteristic of the Russian school, some notable exponents of which were appearing just about the same time elsewhere.