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Georgina Parkinson joined The Royal Ballet in 1958 and became close friends with Kenneth and Deborah MacMillan. She joined American Ballet Theatre in 1978 and was the Company's Ballet Mistress from 1980 to 2009 where she was responsible for supervising and rehearsing the staging of many MacMillan ballets. Two of the letters were written while a dancer with The Royal Ballet, the remainder while working with American Ballet Theatre.

Four page, double-sided, handwritten letter to Kenneth MacMillan en route to America, on TWA In Flight letterheaded paper. Confessing she has sent a farewell telegram to Ivan Nagy on Kenneth's behalf and on instruction from American Ballet Theatre press office. Feeling nervous about her new role and how she will be regarded by the young dancers. Reports on her time in Greece with The Royal Ballet, Anthony Dowell's behaviour, Vergie (Derman), David Wall and Alfreda (Thorogood) are mentioned. She and Roy (Round, her husband) spent a weekend with Alastair (9th Marquess of Anglesey) and Doreen (Wells). Nora (Kaye) is considering Doreen for the young Karsavina in the Nijinsky movie, with envelope, 23.8.1978

Six page handwritten letter from Chicago to Kenneth talking about staging The Wild Boy in Chicago without Natasha (Natalia Makarova) who will perform it in San Francisco. Lisa Houlton will perform instead, rather than Kenneth's preferred choice of Leslie (Browne). She reports of much sickness amongst the male dancers with Ross Stretton and Brian Adams being given opportunities. Also difficulties with management. She is teaching over the summer for Petrus Bosman at the University of Champagne Illinois and for Stanley Holden in Los Angeles. Mentions her family and their decision to sell their home in London and buy in Manhattan, 4.2.1982

Four page handwritten letter to Kenneth and Deborah MacMillan, titled ON STRIKE! DATE ?! discussing the strike by the dancers of American Ballet Theatre and how difficult it all is. She has two private students so has some money coming in. Talks about her and Roy (Round's) plans for the loft in Manhattan and about their son, Tobias, undated but envelope postmarked 22.9.1982

Nine page handwritten letter from Miami Beach, Florida to Kenneth and Deborah MacMillan where Georgina is teaching for three weeks at a Summer School just outside of Miami, run by an Argentinian dancer who had been a member of (Alicia) Alonso's company in Cuba. Mentions Mikhail Baryshnikov spraining his ankle at the last matinee of the season, giving a mumbled end of season speech to the Company in which he mentioned the forthcoming association with Kenneth MacMillan but not the Company acquiring Romeo and Juliet which is, however, common knowledge amongst the dancers. Also discusses the performances of Triad. Talks about her family and plans for the rest of the summer, undated but with envelope postmarked 23.6.1984

Two letters from Georgina Parkinson to Kenneth and Deborah MacMillan, from America, comprising

1. One page typed letter, 'Day Four', typed just before leaving for the theatre, all three working for the same goal of The Sleeping Beauty, undated
2. Two page typed letter complaining about San Francisco and the intolerable atmosphere around the theatre, undated

Kenneth MacMillan was appointed Artistic Associate to American Ballet Theatre in 1986 and created a new production of The Sleeping Beauty that premiered on11 Feb 1987 in Chicago. The material comprises one page of handwritten notes about numbers of performers, in purple felt tip pen, undated, three pages of cast lists showing additional characters and name changes (large), and six telegrams of best wishes and congratulations, 10-12 Feb 1987. There is an envelope with some handwritten notes by Kenneth MacMillan on the back that may relate to this production, undated but postmarked 1 Jul 1988

Lucia Chase, dancer, co-founder and co-director of American Ballet Theatre, first met Kenneth MacMillan at the Royal Opera House, London in 1956. She immediately commissioned a new work from him for ABT which premiered the following year. She also took several of his works into the Company's repertoire and wrote often requesting a new work for her Company. The material in this file covers the first performance of Concerto, mentions of Las Hermanas, which Lucia Chase danced in, Danses concertantes, Romeo and Juliet and the creation of Pavane pas de deux for Gelsey [Kirkland] and Ivan [Nagy], and two covering letters enclosing payments for performances of Pavane pas de deux, Danses concertantes and Concerto during the Spring Season, 1978. There is an interdepartmental communication from Kenneth MacMillan to John Tooley about letting ABT perform Pavanne (sic), 14 Nov 1977

Mikhail Baryshnikov succeeded Lucia Chase as Artistic Director of American Ballet Theatre in 1980. He was keen to retain and expand the number of works by Kenneth MacMillan in the Company's repertoire. The material in this file comprises

1. One typed letter from Mikhail Baryshnikov to Kenneth MacMillan re keeping Concerto in the repertoire but suggesting new costumes by Santo Loquasto. He is also keen to have a new work from MacMillan for the 1981/82 season, 5 Apr 1980
2. One typed page of casting for Concerto with annotations in blue biro and pencil
3. One typed letter from Mikhail Baryshnikov reporting on success of having Monica (Parker?) teaching Concerto to the Company. Also hopes Santo Loquasto has contacted MacMillan about the costumes, 6 Nov 1980
4. One ticket stub for ABT at Metropolitan Opera, Lincoln Center, New York, 9 Jun 1981
5. Typed invitation to Sir Frederick Ashton to dinner at Mr and Mrs Anthony Bliss, General Manager of the Metropolitan Opera Association, Lincoln Center, New York, 1 Jul 1981. Sir Kenneth and Mrs MacMillan to bring him to the Bliss' apartment
6. One typed letter enclosing a contract for signature, 1 Jul 1981 (the contract is not with the letter)
7. Typed postcard from Richard Tanner inviting Kenneth MacMillan and family to dinner, n.d.

American Ballet Theatre first performed Kenneth MacMillan's one-act ballet Triad in their 1983/84 season. The material in this file mostly refers to those performances and comprises

1. Six printed forms for telephone messages at the Britannia Hotels, 18.8.1983-8.9.1983, including messages from Mikhail Baryshnikov, Deborah MacMillan and Monica Mason
2. Two pages of performance schedule for the Metropolitan Opera House, New York, for performances between 24.4.1984 and `6.6.1984, including performances of Concerto and Triad, 9.2.1984
3. One rehearsal call sheet for 4.6.1984 including Triad
4. One typed cast list for Anastasia Act III, 30.7.1984
5. One telegram and one confirmation telegram from Ashley Lawrence, conductor, wishing MacMillan good luck for opening performances of Triad, 30.5.1984
6. One typed office memo re draft proposal for next season, 27.3.1984