The comments by members on some early productions have reminded me of old memories perhaps worth sharing. William Dollar's Le Combat (aka The Duel), in its original duet form, actually had its premiere from Roland Petit's Ballets de Paris in London, at what was then called the Princes Theatre (now the Shaftesbury), in February 1949, during the same week as Petit's Carmen. On some pretext -- perhaps an interview with Dollar -- I watched a rehearsal before the first night. The woman at that time was Janine Charrat, better known as a choreographer, and her partner was the excellent dancer Vladimir Skouratoff. I have an impression that I liked the ballet better in that form than when the extra warriors had been added.
John Taras: the first ballet by him seen in Britain was Graziana, a reasonably attractive dance suite very much a la Balanchine to Mozart music, brought to Covent Garden by Ballet Theatre in its 1946 season. I remember him playing the Baron in Night Shadow for the Grand Ballet du Marquis de Cuevas, 1948. He created Le Piege de Lumiere for that company in 1952, with Rosella Hightower as the butterfly heroine; she was the most virtuosic ballerina I ever saw (and later an exceptional teacher in Cannes, Southern France -- she's still there). Among various revivals of Piege was one for London Festival Ballet in 1969, starring Galina Samsova, and I was thrilled by Elisabeth Platel as guest star in a staging for the Lyons Festival during the 1980s.
Taras's best ballet without doubt was Designs with Strings, created for the small English company Metropolitan Ballet to the second movement of Tchaikovsky's Trio in A major. With a cast of four women and two men, it had no plot but a theme of young love, built around the 15-year-old ballerina (yes, already a ballerina at that age) Svetlana Beriosova. Many companies, as you know, have danced this since -- the French title is Dessin pour les six -- and I wish we still had it in a British repertoire, assuming that a suitable cast could be found.