According to the musicologist Graham Melville-Mason, these numbers were the germ of Beecham's ballet score, "The Gods Go a'Begging". The ballet was commissioned by Serge Diaghilev for his company, the Ballets Russes; it was choreographed by the young George Balanchine. Boris Kochno devised a simple scenario on the lines of an 18th-century "fête champêtre", in which a shepherd comes across a nobleman's picnic, spurns the attentions of two ladies in the party and dances instead with a serving maid. The picnic party's indignation is quelled when the shepherd and maid reveal themselves as gods in disguise. For the score, Beecham produced an eleven-movement suite:   A Sarabande movement was included in Beecham's recording of the suite with the LPO; he later used it in "Amaryllis". The ballet was premiered in July 1928 at His Majesty's Theatre, London, under both the English title and the French – "Les dieux mendiants". Beecham conducted, and Alexandra Danilova and Leon Woizikovsky danced the leading roles. It was a considerable success and became a mainstay of the Diaghilev company's repertoire until its disbandment after Diaghilev's death in August 1929. The work was then presented by Wassily de Basil's company. A new production was staged by the Vic-Wells Ballet at Sadler's Wells Theatre in 1936 with choreography by Ninette de Valois. This version was frequently revived, most recently by the London City Ballet in 1982. Beecham made three recordings of excerpts from the score. In 1930 a suite based on "Ariodante" was announced, but did not appear. Melville-Mason suggests that Beecham used much of it instead in a ballet score for the Carmago Society, "A Woman's Privilege", choreographed by Trudl Dubsky. It was a comedy about exchanged brides, and featured what "The Musical Times" described as "a pair of low comedy aunts" reminiscent of pantomime dames. "The Daily Telegraph" described it as "amiable nonsense full of sprightly movement, grotesquely at variance with the beauty and texture of the music". After the first performances, at the Savoy Theatre in November 1931, the ballet was not seen again. Much of the score for "A Woman's Privilege" was reused in "The Origin of Design", first given at the Savoy in June 1932.