The Royal Ballet's post-war The Sleeping Beauty. In the end the Cuevas company gave its choreographic credit to both, as Nijinska-Helpmann. 'The Royal Ballet' of London: Les Biches and Les noces In 1964 Frederick Ashton of The Royal Ballet asked Nijinska to stage a revival of her ballet Les Biches (1924) at Covent Gardens. Ashton had been resident choreographer for The Royal Ballet since 1935. Then becoming also an associate director in 1952, he was appointed the Royal Ballet's director in 1963. Nijinska first mentored Ashton's career from when he was a young ballet student. In 1928 in Paris she'd been the choreographer for Ida Rubenstein, where he'd become a dancer in the company. He performed in several of choreographed works by Nijinska under her guidance. Ashton consider her a beneficial influence in the development of ballet. More specifically, her choreography had informed his own progress in that art. The staging of the revived Les Biches went well. Two years later, Ashton asked her to return to London and stage her Les noces (1923) on his company. These 1964 London productions, according to dance critic Horst Koegler, "confirmed her reputation as one of the formative choreographers of the 20th century." In 1934 Ashton had expressed his own opinion: Her achievements have proved to me time and again that through the medium of classical ballet any emotion may be expressed. She might be called the architect of dancing, building her work brick by brick into the amazing structures that result in masterpieces like Les noces. Other stagings: Brahms Variations, Le Marriage d'Aurore, Chopin Concerto Following these London events, Nijinska "was repeatedly invited to revive several of her ballets". She staged Les Biches in Rome in 1969, and in Florence and Washington in 1970. Also Les Biches, and a revised version of Chopin Concerto and Brahms Variations, for the Center Ballet of Buffalo in 1969. Les noces was staged in 1971 in Venice, where during a rehearsal at the Teatro Fenice, she celebrated her eightieth birthday onstage. "Between 1968 and 1972, Nijinska saw performances of Les Biches, Les noces, Brahms Variations, Le Marriage d'Aurore, and Chopin Concerto for ballet companies in the United States and in Europe." Irina Nijinska's further revivals, and others After her death in 1972, her daughter Irina Nijinska (1913-1991) continued this work. A growing number of performances of her mother's early ballets were performed. Several entered into the