FRANZ Schubert, who, I am convinced, had no inhibitions whatever and whose musical career was not, at least until the latter years, even hampered by the rules and regulations ot counter-point, would be much surprised to sec what a modern choreographer had made of his Fantasia. Prayed percussively on two pianos, he might scarcely recognise it. Yet it has been the inspiration of a violently modern ballet entitled The Wanderer, which Frederick Ashton has devised for the Sadler's Wells company.
In a series of beautiful designs and aerobatics, the ballet attempts to show what a rough time a young man has in this life, hauled about in the wake of hit own emotions and with about as much say in hit own destiny as a babe in arms.
Robert Helpmartn is the young man and Margot Fonteyn, raven-haired and purpleclad, the only benevolent influence who, more often than not is expertly scooped out of the way when about to render first aid by the malevolent ones Colour, design and virtuosity—mixed together dramatically—make The Wanderer a not insignificant contribution to contem porary ballet. . C.