To Salvador Dali, "Labyrinth," like his first ballet, "Bacchanale," take place in the "time and space of a dream." But for audienccs all over thc country, "Labyrinth" jolts into reality when the curtain goes up on the beautiful, brooding head that dominates the first-act scenery. And they see a superbly detailed dream-full of tricks and ripe with Dali's wilful morbidity.

But the ballet's importance lies in Dali's power to open strange horizons. And its heauty lies in his power to make his paintings, with all their imagination and draughtsmanship, live on the stage. The choreography of "Lahyrinth" is Massine's; the score, chosen by Dali, is Schubert's Seventh Symphony. All the rest-libretto, scenery, costume, is Dali's, un-pure, un-simple, dreamlike.