The Ballet Rambert. (Lyric Theatre, Hammersmith.) MARIE RAMBERT has never lost sight of the art of dancing, has never allowed her pupils to be so o(rerwhelmed by its technique that they become merely brilliant automata, a great danger in the world of ballet today. Admittedly her method does not produce a ballerina assoluta, and her company is seen to the best advantage when it avoids the classics ; but, apart from the pleasure it gives its audiences, it also serves to remind them that there is more to ballet than the accomplishment of difficult steps. Tuesday night's programme, with one exception, comprised works by well-known choreographers. Gore's Plaisancc exactly suits the gaiety and freshness of these young dancers, its very modesty of demand enabling them to enter heart and soul into the spirit of the work. Lilac Garden and Les Masques (by Tudor and Ashton respectively) both need maturer artists, but the former is always saved by the choreographer's mastery of con- ception, and the latter by the excellent designs of that really fine artist, Sophie Fedorovitch. Michael Charnley's Movhnientos, just added to the company's repertoire, is the least successful work I have seen by this up-and-coming choreographer. Sally Gilmour is making a farewell appearance with her old company before depart- ing for Australia. Her loss will be deeply felt. Her performance of Confessional, based on Browning's poem, is beautiful and touching.