Ballet productions from the early twentieth century invite, indeed require, a multi-disciplinary lens to fully appreciate the aesthetic and intellectual processes as well as the socio-cultural influences shaping their creation, reception, and legacy. Jacinthe Harbec’s Ballets russes et Ballets suédois attempts just such a study of new ballets created by the Ballets Russes and Ballets Suédois between 1917 and 1924, focusing closely on seven ballets: Parade (1917), Les Mariés de la tour Eiffel (1921), L’Homme et son désir (1921), Skating Rink (1922), La Création du monde (1923), Within the Quota also known as L’Immigration (1923), and Relâche (1924). Noting that few studies of these ballets address the integral role of music in the collaborative creative process—including compositions by Erik Satie, Les Six, Darius Milhaud, Arthur Honegger, and Cole Porter—Harbec addresses that gap by providing an integrated approach to each ballet’s musical dimension alongside literary, artistic, and choreographic design, as well as reception. Interested especially in the contribution of ballet to post-war modernism, Harbec focuses on multiple modernist movements, from cubism, futurism, and fauvism, to surrealism, dada, and symbolism. The selection of ballets reflects Harbec’s interest in ballet as a testing ground for new ideas and creative projects, choosing works in which one or more collaborators was new to ballet. Building on previous scholarship by scholars including Sabine Vergnaud, Manfred Kelkel, and Carole Boulbès, Harbec draws on new archival research and musico-analytical approaches to deliver detailed and systematic studies of interartistic collaboration, resulting in a fascinating compendium with an exciting depth and breadth of research. The title of the book draws the reader’s attention to the place of music in its intersection with other arts between 1917 and 1924. For the Ballets Russes, this period marked the approximate mid-point and maturity of the company, which was initially founded in 1909 by Serge Diaghilev as a forum for Russian-produced ballet in Paris, and which came to end in 1929 at Diaghilev’s death. Known for staging provocative works such as Le Sacre du printemps in 1913 (music by Igor Stravinsky, choreography by Vaslav Nijinsky, and designs by Nicholas Roerich), the company struggled to maintain financial and artistic stability during the First World War. This led, in some cases, towards smaller-scale, experimental productions—such as Feu d’artifice, a “non-ballet” in which light danced across cubist forms (designs by Italian Futurist Giacomo Balla to a pre-existing score by Stravinsky)—alongside Russian-themed works (Soleil de nuit) and nods to eighteenth-century comedy (La Boutique fantasque). This new juxtaposition of experimentalism, Russianness, and the eighteenth-century galant continued into the 1920s alongside further influences as the company sought to navigate the changing dynamics of post-war France. For the Ballets Suédois, 1917-1924 marked a period of gestation followed by intense activity. Founded in 1920 by Rolf de Maré as a company of Scandinavian dancers in Paris, the idea for the company emerged as early as 1913 when de Maré met Michel Fokine, former choreographer for the Ballets Russes. Fokine worked in Stockholm, Copenhagen, and St. Petersburg after his departure from the Ballets Russes, during which time he also met the soon-to-be choreographer for the Ballets Suédois, Jean Börlin. Together, de Maré, Fokine, and Börlin imagined a new kind of Swedish Ballet, free from the traditions of the Royal Swedish company. As Sally Banes and Erik Näslund have noted, the Ballets Russes influence was visible in the opening season of the company, during which the Ballets Suédois positioned themselves somewhat conservatively within the Ballets Russes legacy, staging Diaghilev-like works (whether in style or theme), Swedish folkloric works, as well as edgy avant-garde productions. For example, the first Ballets …