second his 1842 incidental music, which incorporated the overture. Apparently Los Angeles agreed with Nijinska, for a few years later she would make it her permanent residence. In 1934 she designed the dances. Nijinska's incidental choreography for A Midsummer Night's Dream (1935) was as imaginative and magical as everything else in that sumptuously produced film." As a one-act ballet in Saint Petersburg A Midsummer Night's Dream had been "first choreographed by Marius Petipa in 1876" and in 1902 by Mikhail Fokine, to Mendelssohn's 1842 music. Other versions were later staged by Terpis (Berlin 1927), Balanchine (New York 1962), Ashton (London 1964), and Spoerli (Basle 1975). A staging of Fokine's choreography, however, at the Imperial Theatrical School on March 26, 1906, was especially memorable for Nijinska. Not only did she dance in it, but the date marked a visit by her father after a long absence. The 1935 film was not Nijinska's first time in the employ of Max Reinhardt. The well-known impresario's practice was to stage a variety of performance arts in theaters across Europe. In 1931, for a Reinhardt production in Berlin, Nijinska had created the ballet scenes for Offenbach's opera The Tales of Hoffmann. de Basil's 'Ballets Russes de Monte Carlo': Les Cent Baisers Nijinska choreographed Les Cent Baisers [The hundred kisses] in 1935 for de Basil's company. This one-act ballet was set to music by Anglo-French composer Frédéric Alfred d'Erlanger. It opened in London at Covent Garden. The libretto by Boris Kochno followed the literary fairy tale "The swineherd and the princess" created by Hans Christian Andersen. Here a disguised prince woos an arrogant princess. Nijinska's choreography is considered one of her more classical. Yet she incorporated subtle variations from the usual academic steps, according to Irina Baronova who danced the role of the princess. It gave the piece a special feeling of the East. The prince was played by David Lichine. Teatro Colón in Buenos Aires: Le Baiser de la Fée, Opera choreographies Nijinska had presented at Teatro Colón in 1933 her ballet Le Baiser de la Fée [Kiss of the fairy], which she had first staged for Ida Rubinstein's Company in 1928. It was based on Hans Christian Andersen's fairy tale The Ice-Maiden. Yet, in recreating the tale, music composer Igor Stravinsky had changed the eerie maiden into a fruitful Muse, inverting Andersen's original story in which the ice-maiden, disguised as a beautiful woman, attracts