‘This Sporting Life’

Abstract

I first met Roberto Gerhard when I was engaged in the writing of a book, ‘Making a Film’, about the production of Thorold Dickinson's film, Secret People, at Ealing Studios in 1950 or 1951. The scenario of Secret People called for a ballet, of undefined Southern European origin, in which one of the principal characters (played by the then unknown Audrey Hepburn) was a principal dancer.