young men who are led to their death. In 1937 Nijinska returned to Buenos Aires for a reprise performance of Le Baiser de la Fée at the Stravinsky Festival. Ballet choreography she also created for dance scenes in operatic works that played at Teatro Colón. Accordingly, Nijinska worked with the music of various composers, e.g., Mussorgsky, Verdi, de Falla, and Wagner. 'Markova-Dolin Ballet' in London, & Jamaica; (Markova later: Autumn Song) In 1937 Nijinska reprised her 1924 Les Biches for a performance by the Markova-Dolin troupe. "For six months during 1937 the troupe was creatively bolstered by the presence of Nijinska, who took charge of rehearsals and classes in addition to staging Les Biches and La Bien-Aimée." Alicia Markova was a leading ballerina of London. In 1935 she left the Vic-Wells ballet company of Ninette de Valois, where she had excelled in classical roles. She left to "form the Markova-Dolin Company (1935–1938), with Bronislava Nijinsky as chief choreographer." Irish dancer Anton Dolin had worked with Ballets Russes starting in 1921. Later he was the 'handsome swimmer' in Nijinska's 1924 Le Train Bleu. During the 1930s he became a frequent dance partner of Markova. He joined American Ballet Theatre in 1940. After the war, for the Markova-Dolin company Nijinska choreographed Fantasia, music by Schubert and Liszt. A one-act ballet it opened in 1947 at the Ward Theatre, Kingston, Jamaica. Costumes and decor were by Rose Schogel, principal dancers: Bettina Rosay and Anton Dolin. In the 1930s Nijinska gave Alicia Markova 'creative sessions' in ballet, including instructions for her own choreographies. In particular she taught Markova an early work of hers from Kiev: Autumn Song to music by Tchaikovsky. Nijinska had originally danced it barefoot wearing a tunic of her own design. In 1953 Markova performed this solo ballet for a variety show on NBC television. 'Ballet Polonais' in Warsaw: Concerto de Chopin, La Légende de Cracovie In 1937 Nijinska was asked to become the artistic director and the choreographer for the newly recreated Balet Polski (aka Les Ballets Polonais, or The Polish Ballet). In the revival of this national ballet, among its chief aims: to advance the Polish dance heritage, to train new ballet professionals, and to perform internationally. She signed a 3-year contract. For the company's 1937-1938 debut season, she created five new ballets: Le Chant de la Terre, Apollon et la Belle, Le Rappel, Concerto de Chopin, and La