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Lilian Baylis, then manager of the Old Vic and Sadler's Wells and a woman who was running an opera company, a Shakespeare company, and a dance company, accepted an invitation from the International Federation of Business and Professional Women to speak at their conference held in Paris in 1936. Baylis chose to lecture the assembled company of career women on the subject of \"Women in Theatre Management.\" Here, Schafer revisits the several texts that survive in relation to Baylis' lecture which tackled the success of women in theater management.

LILIAN BAYLIS should find the return to 10 furlongs in her favour as she tackles the EBF / Family Friendly Gatwick Airport Fillies' Handicap at Brighton. A well-bred filly hailing from the family of Damson and Geminiani, Lilian Baylis took three attempts to get off the mark for Luca Cumani, finally striking gold when tried over a mile and a quarter at Pontefract last month. There is some fine action on offer at the Curragh and Aidan O'Brien should enjoy another good afternoon with Found taken to return to winning form in the Kilfrush Stud Royal Whip Stakes while Kingfisher can strike gold in the Palmerstown House Estate Irish St Leger Trial.

EUR 1.27 / Pounds 1.02 p/min.

One day remains lodged in my mind. After a morning filming at the country's top fee-paying school, Westminster, we moved barely a mile across the Thames to visit Lilian Baylis school. It had recently been subject to a very public naming and shaming after Oliver Letwin, then a prominent opposition spokesman, announced he would rather \"beg\" in the streets than send his children there. Over the years, I have been back to Lilian Baylis several times. The school is now in a light, airy new building, courtesy of the Labour government's now derided building programme. The intake remains similar, but its reputation has been re-built thanks to steadily improving results and a good Ofsted report, which judged the head's, Gary Phillips, leadership as \"exemplary\". The school is a touchstone for what has been achieved over the last 10 years. Shortly after making the Channel 4 film, I was at a dinner with one of the early academy headteachers. After 10 minutes of arguing the merits, or otherwise, of \"independent\" state schools, he joked: \"In the end, we will probably have to reinvent local authorities.\"

Local MP Kate Hoey, the Mayor's commissioner for sport, said: \"This is exactly the kind of imaginative scheme to ensure that, after 2012, facilities improve. This project offers a wonderful opportunity.\" [Steve Parry], who won bronze in the 200m butterfly at Athens, said: \"Lambeth is a key target area for this project.

YOU'LL FORGIVE ME IF I AM A TAD distracted. Tonight is the opening night of the pantomime I am doing at the Old Vic theatre in London and I'm having a waft of butterflies. I've never opened on a Sunday before but then I've never flown in a leather armchair either and I'm doing that as well. They say the best part of any acting job is the moment when you know you've got it. After that, everything about the job - the rehearsing, the line-learning, the first performance - is sufficiently anxious-making to suggest it is not a sensible job for a sentient being. The trouble is, like a moth to the John Gielgud room, with the actress Debbie Chazen. (There are gloriously naughty stories about John Gielgud that I can't possibly repeat here but if you ever meet me, do ask.) We prepare ourselves below a large, rather stern portrait of Lilian Baylis, who ran the theatre from 1912. Ms Baylis's devotion to her work was unparalleled. During the Zeppelin and bombing raids of the First World War she is quoted as declaring: 'What's a raid when my curtain's up!' As with all theatrical ventures, Baylis's work was regularly plagued with financial difficulties. She was once overheard praying, 'Dear Lord, send me a good tenor - cheap!'

I play right back for the school football team. Teachers help a lot with after-hours training. The school encourages you to learn.

Lingua Franca opens in a modern rehearsal studio where every dancer practises with some gadget or other: iPod, tablet, video player. Initially, the piece seems to be an offhand homage to the workmanlike yet transfixing beauty of dancers' warm-ups and run-throughs. Backstage then becomes stage: gadgets go, costumes come, and casual multiplicity gives way to a highly focused and stylistically unified quartet -- the common language of the title. It is a startling transformation, as well as a window on to the past: the quartet is derived from [Robert Cohan]'s 1984 Agora, and you realise that today's dancers don't work in this sculptural, powerfully rhetorical style any more.

The opera has its flaws. [Karl Amadeus Hartmann] co-wrote the libretto with the conductor Hermann Scherchen, dramatising three of the novel's episodes. Simplicius first encounters a Soldier, whose men destroy his village; then a Hermit, who teaches him the meaning of life and death; and finally a despotic Governor, whose actions disgust him and whose demise he prophesies. The three scenes feel too self-contained to suggest dramatic continuity, and the work's power derives from its score, which juxtaposes brutalist marches with despairing threnodies, and pulls in allusions to Bach chorales and, surprisingly perhaps, the Polovtsian dances from Borodin's Prince Igor.