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This file contains material relating to the creation of costumes, props, scenery and projections required for the production of Isadora and includes correspondence and lists from different production departments in the Royal Opera House, Covent Garden during the making of the ballet. It comprises

1. Two cast lists, one typed and one photocopied with surnames of the different dancers who will be performing each role. The typed list has annotations on the reverse by Kenneth MacMillan for casting. There are additional annotations on the front not all by Kenneth MacMillan. Undated
2. Five Costume Plot lists on large paper giving the Character, scene and costume required. Four comprise one plot each for Principals and for Company/Actors for Act I and Act II. Undated though the production date is given as April 1980. With envelope addressed to Kenneth MacMillan at the Operan Kungil Teatern, Stockholm, postmarked 5 Nov 1980. There is an additional costume plot for Act I which has some handwritten additions by Kenneth MacMillan
3. Typed costume list for the character Isadora, with details of what costume for each scene
4. Handwritten note from Kim Baker, Wardrobe Supervisor, on Royal Opera House headed notepaper, to Kenneth MacMillan enclosing photostats of the Extra Russian Peasants that Barry Kay, designer, would like. With three black and white photocopies attached. Undated
5. Three pages from a 1981 diary with a handwritten list of scenes with the extras/actors required for each scene. Four company names are included, in red ink. There is a note attached on a Royal Opera House compliment slip Still Need: 1 male extra
6. Photocopy of four typed pages of Points discussed between Mr MacMillan, Miss Baker and Miss Pullen, 8.8.1980. Gives a list of the Principal casting following cuts made, then a scene by scene list with characters appearing in each scene. From Janice Pullen, Wardrobe Director, Royal Opera House
7. Handwritten letter from Janice Pullen to Kenneth MacMillan, enclosing draft plots of Act I and II, following their meeting on 8th August (see item 2). Attached is a photocopy of a list of costumes required for each act
8. Four typed pages of a Resume of Principals, Company and Extras, as stated at the last meeting of 2.11.1980. There are annotations by Kenneth MacMillan giving the names of dancers for some roles, and further annotations by Kim Baker
9. Typed letter from Janice Pullen to Kenneth MacMillan, enclosing minutes of their last meeting. Attached are four typed pages recording the meeting held on 31.10.1980 in Sir John Tooley's office. The meeting discussed the additional costumes required due to a change in the set, and the notes include a break down of the number of characters appearing in each scene. There are annotations by Kenneth MacMillan
10. Photocopy of four pages of handwritten list of costume available and to be worn at the first dress rehearsal on 25th April. Costumes not available are highlighted in orange marker pen. Undated
11. Photocopy of 17 black and white photographs of the model set designed by Barry Kay, shown with changes between each scene. Undated
12. 13 pages, 12 photocopies and one of mounted images with Barry Kay's handwritten descriptions, of Projections and Effects. The 13 pages comprise a title page, two pages of description of themes, of the equipment required and a proposed working method, and ten pages of images for each scene requiring projections and a description and explanation. Undated
13. Seven pages of a handwritten list for Hand Props, detailing what props are required by which character for each scene. In blue biro and pencil, undated
14. Photocopy of four pages of a typed Preliminary Props List (3), 8 Aug 1981
15. Photocopy of four pages of a typed Preliminary Props List, as item 14 but with annotations
16. Inter Departmental Communication from Keith Gray, Ballet Stage Manager, to Kenneth MacMillan giving timings for each scene. Undated
17. Black and white photocopy of a design for character danced by Ross MacGibbon, with handwritten note by Kenneth MacMillan asking for change to the trousers (large)

Barry Kay provided the designs for the new production of The Four Seasons mounted by Kenneth MacMillan for the Paris Opera Ballet in 1978. These two pages of drawings in pen and ink are for the characters that announce the seasons. Summer is led by Pan with three dwarf attendants, two centaurs and a child centaur; Autumn is led by Pomone with a child attendant, six attendants drawing Bacchus on a canon and three grotesque children; Winter is led by Diana with two cherubs, four attendants carrying a male dancer as a lion in a cage with a further four attendants helping to carry the cage; Spring is led by Venus with six attendants and Cupid.

This file contains correspondence and notes relating to the first performance of Isadora at the Royal Opera House in 1981 and subsequent performances in the UK and in the US. It comprises

1. Two photocopies and two typed memos between Royal Opera House departments confirming performers for Isadora in London and in America, and details of photocalls, 5 Nov 1980-22 Apr 1981
2. Four page handwritten letter from actress Jennifer Sternberg explaining to Kenneth MacMillan why she cannot cover the role of Isadora in London. 21 Aug 1981, with envelope
3. Handwritten card from Mary Morse-Boycott, actress at the Royal Opera House, to Kenneth MacMillan offering herself for a role in Isadora, with envelope,13 Feb [1981]
4. Handwritten letter from Peter Maxwell to Kenneth MacMillan giving details of his movements and whether he can be of use for the Tango, with envelope, 4 Mar 1981
5. Handwritten letter from Madeleine Lytton to Kenneth MacMillan giving her credentials as a teacher and performer of Isadora Duncan's dances and criticising Kenneth MacMillan's ballet. With black and white postcard of her in a Duncan solo, two page typed biography and two pages of excerpts of reviews of her work, 9 Jun [?]1981
6. Handwritten letter from Jonathan Frank to Kenneth MacMillan enclosing the unfinished play by George Bernard Shaw about Isadora Duncan, 'supposedly dictated by Shaw to Rosemary Brown in the after-life'. Four photocopied pages, n.d.
7. Correspondence between Kenneth MacMillan and Nesta MacDonald regarding a visit and possible use of new material in Isadora, 20 Jul 1979 - 20 Mar 1981
8. Typed letter from Wm.F.Cox and Kenneth MacMillan about the possible use of an alternative car in Isadora, with a colour photograph of the car, 27 May 1981
9. Typed letter from John Tooley, General Director of the Royal Opera House, to Kenneth MacMillan in response to John Percival's negative review of Isadora. Also discussing the forthcoming performances in America and proposed cuts to the ballet, 22 May 1982 (possibly 1981)
10. Photocopy of the cast-page from the Royal Opera House programme for Isadora with Kenneth MacMillan's handwritten inscription to Phyllis Adams, his first teacher
11. Handwritten letter from Merle Park to Kenneth MacMillan thanking him for the opportunity of Isadora and for his faith in her. Accompanied by a handwritten note about the watercolour painting by Edward Seago that Merle Park gave Kenneth MacMillan on the occasion of the world premiere of Isadora, 4May 1981
12. Correspondence about copyright clearances for the texts spoken during Isadora, 16 Feb 1981 - 2 Apr 1981
13. Typed copy of an interview with Kenneth MacMillan by Clement Crisp about Isadora, with a typed covering note on The R.A.D. Production Club letter headed paper to Dere Boss from Choo San GohGoh, n.d.
14. Memo from Iris Law to Kenneth MacMillan asking him to call Barry (Kay) in the Pattern Room at the Royal Opera House. Urgent. n.d.
15. Note to Kenneth MacMillan to say that Barry Wordsworth had to go to the BBC, n.d.
16. Handwritten note from Barry Kay to Kenneth Aadams, [Kenneth Aadams was the name Kenneth MacMillan used when he designed some ballets early in his career], 29 Sep 1980
17. Typed letter from Henry Fryer, Publications Editor at the Royal Opera House, enclosing the programme copy from Isadora and asking Kenneth MacMillan if he would like any changes or additions, 29 Mar 1983
18. Handwritten letter from Romayne Grigorova, Ballet Mistress for The Royal Opera, explaining why she had not been at the audition for Isadora, n.d., with envelope (with re Isadora 'extra' in blue biro by Jann Parry on front of envelope)