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One photograph of the set design for the Ballroom Scene in Winter's Eve, one photograph of Kenneth MacMillan and Mikhail Baryshnikov in rehearsal studio [for Wild Boy], and six photographs of the model sets for The Sleeping Beauty

Company

Kenneth MacMillan created a new version of his 1960 ballet Le Baiser de la fee for The Royal Ballet which premiered on 8 May 1986 at the Royal Opera House, Covent Garden. The material comprises:

1. Cast list handwritten by Kenneth MacMillan in blue felt pen, giving names of roles with dancers, some alternative names added in pencil. Also gives the number of costumes for each role
2. Typed list of dancers in the 1985/86 Season at The Royal Ballet, listed under Principals, Soloists, Coryphees and Artists, with pencil markings by Kenneth MacMillan
3. Typed cast list for Baiser de la fee with alternative casts
4. Handwritten letter from Norman Morrice, Artistic Director of The Royal Ballet, to Kenneth MacMillan, wishing him 'everything good for tonight's programme and special success for the new Baiser!' 8 May 1986
5. Handwritten good luck letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, praising his 'very imaginative choice of designer', 8 May 1986
6. Good luck telegram from Misha [Mikhail Baryshnikov] and Charles [Dillingham], New York, 7 May 1986
7. Good luck telegram from Charles Dillingham, New York, 7 May 1986, 'Best Wishes From All of Us for a Great Opening Night. Come Home Soon.'
8. Double page spread from the programme for the first performance of this version by The Royal Ballet at the Royal Opera House of Le Baiser de la fee, on a triple bill of MacMillan ballets. Includes quotations from works by G.K.Chesterton on Fairy Tales
9. Page torn from the programme with notes by Nicholas Dromgoole on Le Baiser de la fee, hit or myth? On the reverse are programme notes by Clement Crisp on Anastasia and Concerto, the two other MacMillan works on the triple bill
10. Three colour and 12 black and white copies of costume designs with the character and dancers' names
11. Three pages each with two polaroid photographs of the Model Set and handwritten details and instructions
12. One page with two colour schemes attached, with handwritten notes

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

Six page handwritten letter from San Francisco to Kenneth and Deborah MacMillan before rushing off to rehearse Kevin (McKenzie) and Martine (?), discusses new casts in Wild Boy, Mikhail Baryshnikov's lack of Artistic leadership, and her lack of plans for the coming year, undated

Three letters from Georgina Parkinson to Deborah MacMillan from America, comprising

1. Two page typed letter from New York talking about the pressure of working on Romeo (and Juliet). Julio Bocca is the only new Romeo and he is good, musical and fast to learn. She reports that Kenneth seems well and has just left for Toronto. She goes to Toronto for four days and then details her movements over the summer, 17.4.1988
2. Two page typed letter 'Over a Period of a Few Frantic Days', critical of Mikhail Baryshnikov and the way he is treating Kenneth. Georgina is off to Korea soon, resentful that she can't enjoy her work at ABT, undated
3. Two page typed letter, 'Friday Night', reporting on the toxic atmosphere at ABT and how badly Mikhail Baryshnikov is behaving, undated

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