The Diaghilev Ballets Russes introduced its startled audiences to a revolutionary dance theatre. History recognizes Diaghilev and his collaborators as an indelible influence on the course of twentieth century dance; an influence re-orienting ballet's goals as well as audience expectations. It is difficult to chart the progressive re-education of the public over a twenty-year period (1909–1929). London, however, in the year 1921, provides an excellent vantage point for a retrospective evaluation of the Ballet Russe's impact.

The year 1921 found Serge Diaghilev in a difficult predicament. Massine, his productive and inventive choreographer, left the company ending “a period that for length and the fertility may be compared with the first period of Fokine.” Diaghilev now faced the opening of a new London season without fresh choreographic talent. He turned to unprecedented recourse—the presentation of a full length Petipa ballet, never before seen in the West. His choice was La Belle au Bois Dormant, the pride of Petipa's reign, unveiled in London as The Sleeping Princess. A summary glance at historical backgrounds reveals how uncharacteristic a venture this was.