Abstract
The most important thing to me in my early days was meeting Tudor and being able to work with him: I think it was partly due to him that I got into the Rambert Ballet Club in the first instance. In the early 1930s I was a pupil of Margaret Craske, Cecchetti's pupil, who had taken over his classes in the West St. Studio in London when the Maestro left, and at that time it was the most renowned professional studio in London. If you went there, you met everyone. Tudor, Helpmann, Fonteyn used to come to class: if anyone had time they went there for class, as they did in later years with Vera Volkova.
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