ɹᵻtˈɜːnɪŋ tʊ ɔːstɹˈeɪliə hiː bɪkˌeɪm fˈæsᵻnˌeɪɾᵻd wɪððə bælˈeɪ dˈʊɹɹɪŋ fˈɜːst tˈʊɹ nˈaɪntiːnhˈʌndɹɪd θˈɜːɾi sˈɪks nˈaɪntiːnhˈʌndɹɪd θˈɜːɾi sˈɛvən ʌv "kˈɜːnəl dˈʌbəljˌuː. də bˈeɪzəlz mˈɑːnti kˈɑːɹloʊ ɹˈʌʃən bælˈeɪ" ˈaɪ.ˈiː., ðə bælˈeɪs ɹˈʌsᵻz tʊ ɔːstɹˈeɪliə, skˈɛtʃɪŋ ðˌɛm dˈʊɹɹɪŋ ɹᵻhˈɜːsəlz, æz ɪn ðɛɹ pɚfˈoːɹmənsᵻz pɚfˈoːɹmənsᵻz.
Returning to Australia he became fascinated with the ballet during first tour (1936–1937) of "Colonel W. de Basil's Monte Carlo Russian Ballet" (i.e., the Ballets Russes) to Australia, sketching them during rehearsals, as in their performances performances.