It was not nearly as easy and as simple as it sounds as I write it. It is beyond me fully to convey to the reader those qualities of tenacity of purpose, of driving energy, of fearless courage that this remarkable woman was forced to draw upon in the early years. There was no money; and before a single penny could be separated from her, it had to be melted from the glue with which she stuck every penny to the inside of her purse.
Alicia Markova joined the company. Anton Dolin was a frequent guest artist. It was, in a sense, a Markova company, with the three most popular works: Swan Lake, The Nutcracker, and Giselle.
But, most importantly, Ninette de Valois had that vital requisite without which, no matter how solvent the financial backing, no ballet company is worth the price of its toe-shoes, viz., a policy. Ninette de Valois’ policy for repertoire is codified into a simple formula:
1) Traditional-classical and romantic works.
2) Modern works of future classic importance.
3) Current work of more topical interest.
4) Works encouraging a strictly national tendency in their creation generally.
The first constitutes the foundation-stone, technical standard, and historical knowledge that is demanded as a “means test” by which the abilities of the young dancers are both developed and inspired.
The second, those works which both musically and otherwise have a future that may be regarded as the major works of this generation.
The third, the topical and sometimes experimental, of merely ephemeral interest and value, yet important as a means of balancing an otherwise ambitious programme.