Academy of Dancing, Miss Ursula Moreton, Ballet Principal of the
Royal Ballet School, and Miss Dinah Watkins of the Royal Academy
for permission to study and use material from the course on the
theory and practice of ballet production sponsored by the Academy's
Production Club; the choreographers Sir Frederick Ashton, Miss
Andrée Howard, Mr. Jack Carter, Mr. John Cranko, Mr. Peter
Darrell, Mr. Kenneth MacMillan and Mr. Norman Morrice for use-
ful discussions and, often, for permission to quote from their writings
or their private note books; Mr. Werdon Anglin for reading the
proofs and much useful criticism; Mr. Leon Arnold for advice on the
cue sheet and lighting notes in Plate XXVI; Mr. William Beresford
and the press staff of the Royal Opera House, Covent Garden, for
help and interest far beyond the obligations of their office; Dr.
William Cole, F.R.A.M., and Mr. Michael Moores for advice and
musical criticism; Miss Margaret Dale for permission to quote from
one of her television camera scripts at Appendix VII; Mr. Michael
ffoulkes for help with research; Mr. Ifan Kyrle Fletcher for advice on
sources and theatre collections all over Europe; Miss Eleanor Fox for
translating Russian material and for advice on Soviet sources; Dr. V.
France for advice and much helpful criticism of the sections devoted
to the ballet of Imperial Russia, Diaghilev and the Soviet Union;
Mr. Victor Glasstone for the loan of reference material; Mr. Nigel
Gosling and Mr. Kenneth Rowell for advice and criticism of the
sections on stage design and costume; Miss Jane Holland for the use
of her library; Miss Mona Inglesby for permission to reproduce the
Stepanoff notation in Plate XXXV; the Hon. Eveleigh Leith and the
Royal Ballet Benevolent Fund for the loan of photographs; Mr.
Duncan Melvin and, in particular, the theatrical managements of
Mr. Peter Daubeny and Mr. Leon Hepner for generous help in seeing
foreign companies visiting London; Mr. Johaar Mosaval and Mr.
Garth Welch for being patient models for our illustrations; Mr.
George Nash of the Victoria and Albert Museum for help in research.
Mr. Roy Round for lending his skill and photographic talent to the
thankless task of recording documents; the late Mr. Cyril Swinson
for the wise guidance which writers hope for, but do not always
receive, from their publishers and without whose encouragement
this book would never have been written; Miss Joan Wildeblood for
advice on period movement and manners; Mr. G. B. L. Wilson and
Penguin Books Ltd. for permission to base Appendix X on their
famous Dictionary of Ballet; Mr. Michael Wood, General Manager

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