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Kenneth MacMillan created the ballet **Requiem to Andrew Lloyd Webber's music for American Ballet Theatre which received its premiere on 7 Feb 1986 in Chicago, USA. Webber's score had first been performed in concert in 1985. The material comprises:

1. One programme for a concert performance at The Palace Theatre, London, in 1985, with annotations by Kenneth MacMillan in pencil and red felt tip pen (large)
2. One page of handwritten notes by Kenneth MacMillan giving the movements and the dancers. On American Ballet Theatre headed notepaper. In pencil, undated
3. One page of handwritten notes by Kenneth MacMillan giving the inspiration behind the ballet. In blue biro and red felt tip pen. Undated
4. Two typed lists of dancers names, First Draft 6 Nov 1985, Second Draft for Costume Fittings 9 Nov 1985
5. Three photocopied pages of a letter to Yolanda Sonnabend from Gary Dunning, General Manager, American Ballet Theatre, discussing arrangements and timings for the designs and their implementation, 18 Jun 1985, with envelope

Kenneth MacMillan created the one-act ballet Requiem for the Stuttgart Ballet which received its premiere on 28 Nov 1976 at the Wurttemberg State Theatre, Stuttgart, Germany. The ballet is a memorial to John Cranko who had died three years earlier. Kenneth MacMillan had intended to create the ballet for The Royal Ballet but the Board of the Royal Opera House considered the use of Faure's Requiem unsuitable for a ballet. The Royal Ballet first performed the work in 1983. The material in this file comprises:

1. One handwritten draft letter from Kenneth MacMillan to the Archbishop of Canterbury asking his opinion on the use of the Requiem to create a dance work. One carbon copy of this letter typed , 9 Mar 1976. One typed letter from Allan Wicks, The Organist, Canterbury Cathedral to Kenneth MacMillan, responding on behalf of the Archbishop. He sees no objection to the music being used to create a ballet, 15 Mar 1976
2. Handwritten note from Jasia Reichardt to Yolanda Sonnabend, designer of Requiem, attaching a ground plan for the Wurttemberg State Theatre, Stuttgart, showing the scenery for Requiem. Undated
3. Three good luck telegrams for the first night in Stuttgart, from The Royal Ballet Press Office, Barry [Kay] and John (?), one with envelope. 26 Nov 1976
4. One page from Dance and Dancers, with comment asking what the Board of the Royal Opera House does, and why they refused Kenneth MacMillan permission to use Faure's Requiem for a ballet
5. Handwritten letter from Alan Beale to Kenneth MacMillan saying what a triumph Requiem had been in Washington. Dated June 1st, Washington. Envelope date stamped 2 Jun 1977 (Alan Beale re Stuttgart written in blue biro on front of envelope by Jann Parry) in blue ink, with decorations by Charlotte MacMillan in black felt pen on the letter and envelope
6. Typed letter from Peter J. Rosenwald enclosing a review from the Wall Street Journal for the first night in New York, and praising the ballet, 28 Jun 1977 (the review is filed with Press Cuttings)
7. Three good luck telegrams for the first night in London by the Stuttgart Ballet, 2 Jun 1978
8. Hand written letter from Pauline Clayden to Kenneth MacMillan, thanking him for Requiem, 5 Jun 1978, with envelope
9. Handwritten letter from Richard Ralph, Principal of London Contemporary Dance School, to Kenneth MacMillan expressing admiration for Requiem, after a performance by The Royal Ballet, 8 Dec 1983, with envelope
10. Four pages of record sleeve notes for a recording by EMI, with handwritten annotations by Kenneth MacMillan in turquoise felt pen. Gives dancers names and timings (large)

Material relates to the life and career of Isadora Duncan and to content for the programme for the first performance of the ballet at the Royal Opera House. It comprises:

1. Typed letter from Genevieve Oswald, Curator of the Dance Collection at the New York Public Library confirming that there is no known recording of the voice of Isadora Duncan. Signed and dated 6 Nov 1980
2. Index card with handwritten note: William Bolitho In one of his books an excellent piece on Isadora Duncan. Unsigned and undated
3. Four page catalogue for an exhibition tracing the history of the Duncan Family, held at the Archives for the Performing Arts, San Francisco, and opening on 26 May 1977 to commemorate the centenary of the birth of Isadora Duncan. Typed on blue paper, two pages folded, with illustrations
4. Programme for A Centenary Tribute to Raymond and Isadora Duncan, an exhibition by and about the Duncans, collected by Ligoa Duncan, a Presentation of the Ukranian Institute of America. The programme includes details of the opening night performance. Booklet of eight pages, endpapers of blue onion paper and card covers, illustrated with black and white photographs. With handwritten notes on the covers, some by Kenneth MacMillan
5. Photocopy of a press-cutting speculating on whether Kenneth MacMillan is about to create a new full-length ballet for Lynn Seymour who is returning to The Royal Ballet, Evening Standard 21 Nov 1979
6. Black and white photograph of Isadora Duncan dancing in Greece. Photograph courtesy of The Bancroft Library, University of California, undated
7. Four typed pages of an article, Isadora by Gillian Freeman, describing working on the scenario for the ballet with Kenneth MacMillan
8. Photocopy of the cast list for the programme at the Royal Opera House, with some corrections and notes from Janet Judd, Press Officer for The Royal Ballet, to Kenneth MacMillan
9. Photocopy of five typed pages of a programme note, Isadora: A Brief Life by Gillian Freeman, giving a brief biography of Isadora Duncan
10. Photocopy of three typed pages of a programme note, Isadora: Spirit of the Age? by Edward Thorpe, considering Isadora's character and art in relation to the artistic and social movements of the period
11. Photocopy of two typed pages of a programme note, Music Notes for Isadora, Richard Rodney Bennett, by Barry Wordsworth, with a covering note from Janet Judd, Press Officer for The Royal Ballet
12. Photocopy of seven typed pages of a programme note, Kenneth MacMillan Principal Choreographer of The Royal Ballet, by Mary Clarke, giving a biography of Kenneth MacMillan with details of his most significant ballets, longer than the note printed in the programme
13. Photocopy of a page from The Daily Mail 21 Apr 1913, reporting the death by drowning of Isadora's two children, inscribed on the reverse 'For Kenneth - with love - Mary [Miller] x' (large)

The Royal Academy of Dance hosted the first major conference on Kenneth MacMillan as part of the commemoration of the 10th anniversary of his death

Correspondence, press cuttings, photographs and messages of congratulations following Richardson's appointment in 1951. The messages of congratulations have been arranged alphabetically by surname and A-O are in this volume. For P onwards, see Vol. II (Press Cuttings and Correspondence 1951-1960).

Kenneth MacMillan created the one-act ballet Rituals for The Royal Ballet which premiered on 11.12.1975 at the Royal Opera House, London, UK. In this ballet, Kenneth MacMillan adapted Japanese martial arts and traditional theatre conventions. The material comprises:

1. Two typed pages of notes for The Royal Ballet's tour to Japan in 1975, giving details of hotels and places of interest. 29.10.1974
2. Handwritten list from Japan Art Staff to Kenneth MacMillan giving details of Kabuki Theatres in Osaka. In Blue ink, Red and black felt tip pen, with pencil additions. Undated

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House, London, UK. The ballet was created on the young dancers Lynn Seymour and Christopher Gable but the first night was danced by Margot Fonteyn and Rudolf Nureyev. The ballet has subsequently been performed by ballet companies all over the world. The material for the 1965 production by The Royal Ballet comprises:

1. Five typed pages, four of Cast Biographies (compiled from Shakespeare's play by Mary Miller) and one of the action of the entire story that takes place over four days. Undated
2. Three typed pages of Cast Biographies (Taken from the play by Mary Miller) with slight differences to the above. With Deborah handwritten in pencil top right of first page. Undated
3. 33 telegrams wishing good luck for the first night and congratulations on the success of the ballet. 8.2.1965 (1), 9.2.1965 (30), 10.2.1965 (1), 18.2.1965 (1)
4. One handwritten letter from Mary (Miller) to Kenneth MacMillan wishing him great success
5. One typed letter from Lord Drogheda, Chair of the Board of Directors at the Royal Opera House, to Kenneth MacMillan, complaining about two pieces in the Sunday Telegraph, praising Romeo and Juliet and suggesting possible composers for his next work including Benjamin Britten and Hans Werner Henze, 14.2.1965
6. One photocopy of a telegram from David Webster, General Administrator at the Royal Opera House, to Kenneth MacMillan reporting the unprecedented number of curtain calls for the second cast of Romeo and Juliet in New York, Christopher Gable and Lynn Seymour, 23.4.1965
7. Two typed letters from Tony and Julie (Andrews) in New York expressing their admiration, 23.4.1965
8. Handwritten notes by Kenneth MacMillan, with comments on an unknown Juliet's performance. On Northern Ballet Theatre stamped envelope, postmarked 20.1.1989
9. 10 black and white photocopies of costume designs with the character and dancers' names written on, and some handwritten notes from Kenneth MacMillan (large). The character of Romeo is to be danced by [Derek] Deane who danced the role in the 1970s
   Material for the 2010 production by the ballet company of the Teatro alla Scala, Milan, Italy, comprises:
10. 44 colour copies of costume designs by Odette Nicoletti
11. Eight colour copies of set designs by Mauro Carosi
12. A ring bound volume of plastic front cover, title page and 13 pages, showing the scenery and scene changes

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House, London. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart.. This file contains

1. Three pages of lined paper with a handwritten list of the action of the ballet by Act and Scene, in blue biro
2. One photocopy of a fax giving a list of the extras for Romeo and Juliet, Teatro Alla Scala, Milan, 17.5.1995
3. Photocopies of three pages of a typed Rudimentary Prop List, with As of 12/13/84 handwritten on top of first page, with pencil annotations by Monica Parker, the list dated 13.5.1975
4. Photocopy of a stage plan with placings for props, Act I, scene 1, January 1976, The Royal Ballet

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House, London. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart.. This file contains the rough score by Faith Worth and comprises

1. Two title pages giving Book Numbers and contents, handwritten in black biro on score paper
2. Book 12, ring bound in blue card covers, with Romeo Act I Fight, Act II Letter Scene and Act II Romeo and Tybalt Fight on front cover, with notes and date 1980 in top right cover, in black biro over pencil and blue biro. 13 pages of score handwritten in pencil, blue biro and red felt pen. No back cover
3. Book 1, ring bound in blue card covers with Romeo, Romeo and Juliet on front cover with other details crossed out and details of Notes contained in the book added. Pencil, blue biro and felt tip pen, red felt tip pen. Two pages of score handwritten in pencil with green and black felt pen additions. Internal divider of blue card with Book 8, Corps - wedding Act II, Romeo, and Act III Potion Scene - Juliet written in blue felt tip pen, blue biro and pencil. Other details crossed out. Three pages of score handwritten in pencil
4. 13 loose pages of score handwritten in pencil, with lists of some casts, December 1971 and 1975
5. Book 10, ring bound in blue card covers with Romeo and Juliet Act I and a list of the dances in Act I, scene 4 in blue biro, with 14 pages of handwritten score in pencil, including six blank pages.
6. Book 3, ring bound in blue card covers with Romeo and Juliet Act I Balcony Pas de Deux and Act III Bedroom Pas de Deux in blue biro, with eight pages of handwritten score in pencil
7. Book 16, ring bound in blue card covers with Romeo and Juliet Act I and Act III and a list of the dances, and Checked 1970 at top left of cover, with 12 pages of handwritten score in pencil

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score, mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart. This file contains part of the rough score by Faith Worth and comprises

1. One handwritten title page giving a list of the book numbers and contents, in black biro, undated
2. Book 5, ring bound with blue card covers, Act II, Romeo solo + 3 Ladies of the Town + Mercutio + Benvolio (Part 1) handwritten in black biro, and Romeo and Juliet written in green felt tip pen, with five pages of score in pencil
3. Book 15, ring bound with blue card covers, Romeo and Juliet Act II and Act III with the dances handwritten in blue biro, and Checked 1970 in top left corner, with eight pages of score in pencil
4. Book 15A, ring bound with blue card covers, Act 2 Marriage Scene/Friar Lawrence, Juliet gets potion from Friar Lawrence handwritten in blue biro. Further details in pencil crossed out, with five pages of score in pencil. No back cover
5. Book 13, ring bound with blue card covers, Romeo and Julie Act II No 30 (-after Marriage) Crowd Scene and Ton-Up, handwritten in black biro, Checked 1970 in top left corner, with 20 pages of score in pencil. Handwritten pencil notes on back cover have been crossed out
6. Book 9, ring bound with blue card covers, Romeo Act II Sword Fight (with 1980 New Fight), Act III Family Scene - after Bedroom P de D, and Act II Mother (Lady Capulet - Tyb's death) handwritten in blue felt tip pen, some annotations in red and green felt tip pen, with nine pages of score in pencil with blue biro markings. No back cover
7. Book 17, ring bound with blue card covers, Romeo Act II Mercutio's Death, Lead into Romeo fight with Tybalt, and Act III Dead P de D handwritten in blue felt pen, with annotations in red and green felt tip pen, with six pages of score in pencil
8. Two pages of score, in pencil, Dead P de D