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Kenneth MacMillan created the one-act ballet Cain and Abel/Kain und Abel for the Deutshe Oper Ballet which premiered on 1 Nov 1968 at the Opera House, Berlin. The material comprises:

1. Typed letter from Miss R Ampenoff, Director of Boosey and Hawkes, Music Publishers, to Kenneth MacMillan at the Deutsche Oper, Berlin, confirming that the full score and orchestral material of Sinfonia Sacra will be ready to send to Germany. The composer, Andrzej Panufnik, has asked for further details of the ballet. 17 Sep 1968
2. Typed letter from David S Adams, Managing Director of Boosey and Hawkes, congratulating Kenneth MacMillan on 'the excellent choreographed treatment of Panufnik's works'. 4 Nov 1968
3. Typed letter from R.Ampenoff at Boosey and Hawked, congratulating Kenneth MacMillan on the great success of his new ballet.
4. Handwritten letter from Andrzej Panufnik to Kenneth MacMillan confirming how much he enjoyed the ballet, even though MacMillan's conception of his score is so different to his. He is delighted that MacMillan would like to work with him on something new, 5 Nov 1968
5. Handwritten letter from Camilla Panufnik to Kenneth MacMillan, looking forward to hearing news of Kain & Abel. Describing how busy her husband, Andrzej, is and how he looks forward to working with MacMillan again, 19 Dec 1968, with envelope

Kenneth MacMillan was appointed Director of the ballet of the Deutshe Oper Berlin in 1966. He created a new production of The Sleeping Beauty for the Company which had its premiere on 8.10.1967. The material comprises:

1. Three handwritten pages by Kenneth MacMillan describing his experience of The Sleeping Beauty and his vision for this new production. With a typed version with handwritten corrections. Undated
2. Double page spread from a souvenir programme (?) of magazine with Kenneth MacMillan's article in German. There are also articles by Horst Koegler and Clement Crisp, and b/w illustrations of designs by Barry Kay. Undated but gives the premier date of 8.10.1967
3. Carbon copy of three typed pages of a review by Clement Crisp of the opening of The Royal Ballet season, comparing it unfavourably with Kenneth MacMillan's new production of The Sleeping Beauty in Berlin, undated
4. One typed letter from Michael Anderson, London International agents, to Kenneth MacMillan, enclosing a photocopy of a review from the Daily Express, 13.10.1967

Kenneth MacMillan was Ballet Director of the Deutsche Oper Berlin from 1966 to 1969. Following this, Kenneth MacMillan returned to create and stage other works for the Company, including Different Drummer in 1991. The material in these files includes correspondence with the management of the Deutsche Oper, dancers, colleagues and friends, some financial details and printed items

The material in this file includes a handwritten letter from Keith Money asking about the possibility of Kenneth MacMillan and the Deutsch Oper Ballet's involvement in a film with Margot Fonteyn, handwritten diary notes on hotel notepaper, a cartoon showing Kenneth MacMillan and others dancing and autographed by Ray [Barra], [Gert Reinholm] and Tatyana [Gsovsky], a telegram from 'Waff Waff' [Gert Reinolm], a typed letter from Becky on New Art Centre headed notepaper, two postcards, a business card for Gert Reinholm and a carbon copy of a cast list for Vivaldi

This file of administrative correspondence between Kenneth MacMillan and the Deutsche Oper Berlin covers his period as Ballet Director. It comprises correspondence including rehearsal and stage schedules, terms and conditions for Kenneth MacMillan, arrangements re dancers, the contract for Monica Parker as choreologist, details for productions including Anastasia, The Sleeping Beauty and Swan Lake, a handwritten note from Kenneth MacMillan to Gert [Reinholm] and his handwritten letter confirming that he will not be renewing his contract

One ticket folder for the first night of an evening of Kenneth MacMillan ballets at the Deutsche Oper Berlin, 30 Nov 1966, a typed letter from Joan Benesh congratulating Kenneth MacMillan on his appointment and asking about arrangements for a choreologist for the company 15 May 1966, a contract for an apartment in Berlin signed by MacMillan, Lynn Seymour and Ray Barra 28 Jun 1966, a contract with the BBC for recording an interview and excerpt from Concerto 31 Dec 1966, and a cartoon Christmas greeting from Becky with envelope addressed to Barra, MacMillan and Seymour, date stamped 19 Dec 1966, with food shopping list in pencil on front

This file of correspondence between Kenneth MacMillan and the Deutsche Oper Berlin covers his period as Ballet Director and relates to financial arrangements and payments, and his right to work. It includes his contract from 16 Aug 1967 to 15 Aug 1968, work permits and authorisations, pay slips, rehearsal fees for some dancers, telephone and other charges, and correspondence with a removal company about his possessions

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works or suggestions of dancers from MacMillan, asking for visits to or from MacMillan, and from dancers requesting work or permission to attend rehearsals. It also includes letters from journalists, members of the public and others suggesting ideas or music for ballets, and general enquiries. It includes letters from Sonia Arova at Norwegian Ballet, Ray Barra, Nicolas Beriozoff, Alan Carter, Margot Fonteyn, Goran Gentele at the Royal Swedish Ballet, Martine van Hamel, Gary Sherwood, Joan and Rudolf Benesh at the Institute of Choreology, Rudy van Dantzig at Dutch National Ballet, Nadia Nerina, Monica Parker and Rouben Ter-Arutunian

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works and some more personal correspondence. It includes letters from Celia Franca at National Ballet of Canada, Gerd Larsen, Lucia Chase, Peter Darrell at Western Ballet Theatre, Erik Bruhn and Goran Gentele at Swedish Royal Ballet, Herman Hardenberg about Lynn Seymour, Mimi Paul, John Percival, Glen Tetley, Bronislava Nijinsky, Peter Wright, American Ballet Theatre, Jacobs Pillow, PACT Ballet, Capab Ballet and Ballet Nacional de Cuba

These letters and the notebook were sent from Clement Crisp to Kenneth MacMillan during the latter's time as Ballet Director at the Deutsche Oper Berlin. They were intended for private consumption so are humorous and contain language and opinions that could be considered upsetting and offensive. Within that context there are comments about Kenneth MacMillan's new production of The Sleeping Beauty, ballets Clement Crisp has seen in London including The Royal Ballet's new productions of Coppelia and Enigma Variations and Festival Ballet's new production of The Sleeping Beauty. He discusses Vergie Derman's wedding, the disposal of ballet sets at the Royal Opera House, dancers Noella Pontois, John Gilpin, Lynn Seymour and Georgina Parkinson and the Kirov Ballet.
There are photocopies of two letters from Kenneth MacMillan to Clement Crisp from 1967 with an accompanying letter from Clement Crisp to Jann Parry. The letters discuss The Sleeping Beauty, Vergie Derman, Lynn Seymour, Georgina Parkinson and works seen in Stuttgart