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Kenneth MacMillan created a three-act version of Anastasia for The Royal Ballet which premiered on 22 Jul 1971 at the Royal Opera House, Covent Garden. The material comprises:

1. A copy of French's Acting Edition No.967, The Recognition Scene from Anastasia by Marcelle Maurette, English Adaptation by Guy Bolton
2. A typed letter from John E. Manahan to Vernon Clarke, Manager of The Royal Ballet, 1 Jul 1971. The letter states that his wife, Grand Duchess Anastasia of Russia, joins him in granting free and unrestricted use of her name to The Royal Ballet for the forthcoming production of Anastasia. On letter head of The Huguenot Society of the Founders of Manakin in the Colony of Virginia, USA
3. Telegram to Kenneth MacMillan from Ursula Moreton, with love and best wishes for the first night, 22 Jul 1971
4. Telegram to Kenneth MacMillan from Ninette de Valois, 'Dear Kenneth you know how much I would have a great ballet meet with recognition and success for its Choreographer My Love Madam', 22 Jul 1971
5. Postcard from John Osborne, congratulating MacMillan, 23 Jul 1971
6. Handwritten letter from HRH Princess Margaret, congratulating Dear Kenneth on a really wonderful ballet and hoping he took absolutely no notice of the foully aggressive piece in The Times. On Kensington Palace headed notepaper with hand addressed envelope, 27 Jul 1971
7. Carbon copy of an interview by Rodney Milnes, titled Anastasia, discussing with Kenneth MacMillan the adverse press reaction to the ballet, the complexities of the narrative and cuts that MacMillan proposes to make. (Later published in Harpers & Queen, October 1971).
8. Press cutting of a Tabriz carpet of c. 1914 depicting Tsar Nicholas II, together with the Tsarina Alexander and the Tsarevich, Alexis. From Michael [Oliver] to Kenneth, 15 May 1980

Kenneth MacMillan created the one-act ballet Le Baiser de la fee for The Royal Ballet which premiered on 12 Apr 1960 at the Royal Opera House, Covent Garden. The material comprises:

1. A handwritten letter from Ninette de Valois with some suggestions for improvements, particularly to the Svetlana Beriosova role as the fairy. Undated
2. Telegram from Leo Lerman in New York to Kenneth MacMillan at the King's Theatre, Glasgow. 'Baiser Marvelous as Ever', 29 Sep 1960

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

Kenneth MacMillan created the one-act ballet Different Drummer for The Royal Ballet which received its premiere on 24 Feb 1984 at the Royal Opera House, Covent Garden. Material in the two files consists of notes and correspondence before the opening night, good luck telegrams and cards for the first night, and cards of congratulation. There are two pages of handwritten notes on choreographic score notation paper, mostly by Kenneth MacMillan, in pencil and black biro (large)

The material in this file consists predominantly of notes and correspondence relating to the first night, with a small amount of material in response to the opening night. Kenneth MacMillan's concept for the ballet changed significantly during the rehearsal process causing the set and costumes to be simplified. This is reflected in some of the material which comprises:

1. Two pages of handwritten notes by Kenneth MacMillan on yellow interdepartmental communication paper. The notes lists dancers' names and the music for different episodes with page references. Undated
2. Two page handwritten letter from Yolanda Sonnabend to Kenneth MacMillan with 'thoughts after yesterday's meeting with John [B.Read], discussing lighting and the positioning and use of the bath. Pen and ink. Undated
3. Handwritten note from Yolanda Sonnabend to Kenneth MacMillan about make up for the dancers. In pencil on yellow inter departmental communication paper. Undated
4. Typed letter from Anthony Russell-Roberts, Administrative Assisant, The Royal Ballet, to Kenneth MacMillan re rehearsal schedule. On Royal Opera House headed notepaper, 10 Oct 1983
5. Typed cast list with alternative casts, 1984/85 February
6. Typed preliminary Props List, 14 Feb 1984
7. Photocopy of music note by Paul Griffiths for the programme with covering letter to Kenneth MacMillan and photocopied inter departmental communication requesting comments. Sent by Janet Jempson, Publications department at the Royal Opera House, 30 Jan 1984. The top page has a handwritten note 'Kenneth the Music Note for "------". P.B. [Peter Brownlee] suggesting that it was sent a second time to Kenneth MacMillan
8. Typed letter from John McMurray, Publications Editor at the Royal Opera House, to Kenneth MacMillan enclosing a copy of Michael Patterson's note on Buchner and Woyzeck, requesting comments. 7 Feb 1984. With photocopy of the note attached
9. Page proof of the cast list for the programme for the first performance of Different Drummer
10. Handwritten letter from Catherine Ashmore, photographer, to Kenneth MacMillan, expressing her disappointment at not being able to take the rehearsal pictures of his new ballet and thanking him for offering her the opportunity. 14 Feb 1984
11. Press cutting from Londoner's Diary in The Standard newspaper, 24 Feb 1984, reporting on the simplification of set and costumes for the ballet and suggesting a waste of funds, with photocopy of response from John Tooley, General Director of the Royal Opera House, 27 Feb 1984
12. Typed letter from John C Botts, Managing Director of Citicorp International Group, to Kenneth MacMillan, thanking him for allowing the company to participate in supporting the creation of his new ballet, 27 Feb 1984
13. Typed letter from Peter Brownlee to Kenneth MacMillan giving details of who to thank for sponsoring the ballet and the party, 27 Feb 1984
14. Typed idc from Anthony Russell-Roberts asking if 'Our President', [HRH the Princess Margaret] could sit in on a rehearsal, 3 Jan 1984

This file contains cards, notes and letters wishing Kenneth MacMillan good luck for the first night of Different Drummer, with a few congratulating him on the success of the new work. There is also a joke certificate. The material comprises:

1. Five telegrams from Ashley Lawrence, Rudolf Noureev, Misha (Mikhail Baryshnikov) and Charles, Peter Schaufuss and 'Mike (Michael Attenborough) and All At Hampstead', 23 and 24 Feb 1984
2. Eleven cards wishing Kenneth MacMillan good luck, including from Stephen Rea, David Taylor, Romayne Grigorova and Iris Law, 24 Feb 1984 and undated
3. Two handwritten notes from Michael Elliot and one from Norman Morrice, with good wishes, 24 Feb 1984
4. Two postcards and one letter praising the ballet, including from Robin Hambro of the Royal Opera House Trust, 26 Feb 1984 and undated
5. Joke certificate from The Benesh Institute of Choreology certifying that Lady MacMillan is awarded the Title Finder of the Decade Prize for Different Drummer, 10 Jan 1984

Kenneth MacMillan created the one-act ballet Elite Syncopations for The Royal Ballet which premiered at the Royal Opera House on 7 Oct 1974. The material comprises:

1. 11 telegrams wishing Kenneth MacMillan good luck for the first night, including from John Auld and the Touring Group, Barbara Fewster, Ann Jenner, John Tooley, Peter Wright, colleagues at The Royal Ballet, 7 Oct 1974
2. One telegram from Becky with covering note from Ken Davison, Organising Secretary of The Friends of Covent Garden, 8 Oct 1974
3. Two page handwritten letter from Zoe Dominic, photographer, to Kenneth MacMillan expressing her admiration for Elite Syncopations, 20 Oct 1974
4. One card signed 'With Love from The Elite Cast', n.d. (large)
5. One envelope with Kenneth MacMillan's handwritten notes Elite and numbers of girls, boys, men and ladies

Kenneth MacMillan created the one-act ballet The Four Seasons for The Royal Ballet which premiered at the Royal Opera House, Covent Garden on 5 Mar 1975. The ballet was subsequently staged by the Paris Opera Ballet at the Theatre de l'Opera de Paris in 1978 with new designs

Material in this folder relates to the 1980 premiere of Gloria and the 1985/86 revival by The Royal Ballet, and the staging for Houston Ballet in 1989. The material comprises:

1. Catalogue for The Slade School of Fine Art Postgraduate Sculpture Show in 1979, featuring the work of Andrew (Andy) Klunder
2. Handwritten letter from Peter S[now] to Kenneth MacMillan apologising that he found the Stage Design Show closed but praising Andy Klunder, 2 Aug 1979
3. Envelope addressed to Kenneth MacMillan in Stuttgart, with many drawings for headdresses and hairstyles, in blue biro, undated
4. One handwritten letter from Richard Ralph thanking Kenneth MacMillan for the interview 17 Oct 1979, and two handwritten compliments slips from Richard Ralph to Kenneth MacMillan, attaching the proof of Ralph's article and a photocopy of the article in Vogue, 17 Jan 1980 and 14 Feb 1980
5. Sheet of paper with random notes on
6. Typed sheet of optional casting for Gloria, February 1985/86, London. With covering sheet with Gloria and some numbers in pencil
7. Handwritten letter from Andy Klunder to Kenneth MacMillan, enclosing photos of the set and describing what he has done to the set in Houston, 23 Apr 1989. The letter is written on the back of one of three pages of photocopied notes for a recording of Socrate by Erik Satie that Klunder has sent to MacMillan and which he thinks he will like (the recording is not in the file)
8. Greetings card signed by members of [Houston Ballet] thanking Sir Kenneth for the opportunity to appear in his ballet (large)

Kenneth MacMillan created this one-act ballet for The Royal Ballet which received its premiere at the Royal Opera House on 13 Mar 1980. The ballet was performed in New York as part of The Royal Ballet's 50th anniversary season in 1981. The material comprises:

1. Post card from Wendy Ellis wishing Kenneth MacMillan good luck and thanking him for a marvellous part, 13 Mar 1980
2. Post card from Jill Bennett congratulating Kenneth MacMillan on Gloria, with envelope postmarked 18 Mar 1980
3. Nine telegrams wishing Kenneth MacMillan good luck, including from Frederick Ashton, John Tooley, Norman Morris, John and Anya Sainsbury, friends and colleagues at the Royal Opera House, 12 and 13 Mar 1980
4. 12 letters to Kenneth MacMillan expressing appreciation and admiration of Gloria after the first night at the Royal Opera House, including from Joan Lawson, Lois Hainsworth, Royal Academy of Dancing, Richard Ralph, Principal London School of Contemporary Dance, Robin Howard, Director General Contemporary Dance Trust, Norman Morrice, Artistic Director The Royal Ballet, Claus Moser, Chairman of the Royal Opera House, Covent Garden, Anya Sainsbury, John Tooley, General Director Royal Opera House, Mark Bonham Carter, Chairman of Ballet Subcommittee of the Royal Opera House, and Peter Snow, March 1980
5. Letter from Philip Semark, Executive Vice President Foundation for the Joffrey Ballet, following the performance at the Metropolitan Opera House, New York, with envelope. 9 Jul 1981