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There are four handwritten lists, one original and three photocopies, giving details of the characters and the numbers of costumes required. There are 11 pages of colour copies of costume designs, several to a page. The material is stored in a cardboard folder which has some handwritten notes on one piece of cardboard (large)

3 typed letters from the New York Public Library on headed paper: the first requesting Bedell's participation on the project, dated July 2, 1976; the second explaining that Dale Harris and David Vaughan would be in England and able to conduct the interview that summer, dated August 10, 1976); the third is thanking Bedells for her participation and explaining the follow-up process, dated October29, 1976. 1 handwritten letter form Phyllis Bedells, dated 18th July, 1976 agreeing to particpate in the project is satisfactory arrangements can be made.

The material in this file includes letters and emails to prospective speakers, a printed flyer and programme, a list of delegates and some post-symposium correspondence

Richard Rodney Bennett was commissioned to write the score for Isadora. This file contains letters and notes from Richard Rodney Bennett to Kenneth MacMillan about the music and scenario, plus one list on proposed additional music in an unidentified hand. The material comprises

1. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the rewrites for Act I. One double sided page, undated
2. One handwritten page of Notes on proposed additional music with approximate timings and explanations about the music. In ink with some water damage, written as though from Richard Rodney Bennett but in an unidentified hand, undated
3. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the music for Isadora's dance after the death of her children, one page, undated
4. Five pages of handwritten Notes for K.M. Isadora Act I. Richard Rodney Bennett goes through scenes 2 - 8 describing the music and how it fits with the scenario. Undated
5. Typed letter from Richard Rodney Bennett in New York to Kenneth MacMillan. Describes going to see Grey Gardens, the film about Edith Bouvier Beale aunt and niece, and what a good scenario for a ballet their story would make. He reports working on Isadora and discusses the Polonaise and his concerns about not using a trained singer. Also he suggests some cuts to Gillian Freeman's scenario. Three pages, signed and undated. Envelope postmarked 21 Aug 1980

One postcard of Theatre de l'Opera, Paris, France from Kenneth MacMillan to Mrs Hamilton/Aunt Mina. Enjoying himself, the food is marvellous but you have to tip practically everyone, including the usherettes in the picture houses. Date stamped 27 Aug 1948

1. Greetings telegram from Jean and Arthur to Kenneth at Sadler's Wells Theatre 'Good Luck Sherlock Holmes', first night of The Great Detective. Date stamped 21 Jan 1953
2. Postcard of Loch Lomond from Jean and Arthur to Kenneth in Berlin, postmarked 10 Oct 1968. On holiday, hoping all well. Autograph in biro
3. Four letters from Jean to Kenneth, between 4 Sep 1966 and 28 Dec 1966, two with envelopes. News about Jean and Arthur's Guest House business, and family news. Autograph letters in biro on 'Crossford' Guest House letter headed paper
4. Four letters from Jean to Kenneth, between 14 May 1967 and 17 Dec 1967, one with envelope. Domestic and family news. Autograph letters in biro on lined writing paper
5. Five letters and one postcard from Jean to Kenneth, between 2 Apr 1968 and 7 Nov 1968, three with envelopes. Domestic and family news, reference to Frederick Ashton announcing Kenneth as his successor as Director of The Royal Ballet. Phyllis Adams has been asking about Kenneth. Looking forward to having Kenneth back in London.
6. Two undated letters, one with unclear postmark. Hoping to see Kenneth soon. Family news.
7. One postcard to Jean Sparham from Iceland, en route to New York, terrified of flying, n.d.
8. Postcard from Kenneth to Jean (Mrs A Sparham) from New York apologising for not writing. Enjoying himself, n.d.

Gordon McVay published a book on Isadora and Esenin in 1980 which included previously unseen photographs. The correspondence concerns this, the use of quotations from the book in Kenneth MacMillan's Isadora, and the offer of tickets for the first night performance at the Royal Opera House. The letters comprise

1. Handwritten letter from Gordon McVay to Kenneth MacMillan informing him of his forthcoming book Isadora and Esenin and offering Kenneth MacMillan an advance copy. One page, 18 Apr 1980
2. Three handwritten letters from Kenneth MacMillan to Gordon McVay, all versions thanking Gordon McVay for the offer of a copy of his book which he will be delighted to receive, but explaining that it will be too late to include any new information in the ballet.
3. Handwritten letter from Gordon McVay, delighted to send Kenneth MacMillan a copy of his book. He describes corresponding with some of Isadora's Moscow pupils and a graphic description of Isadora's movements and gestures in the Marche Slave which he offers to sent to Kenneth MacMillan. One page, 15 May 1980

Andrzej Panufnik was asked by Kenneth MacMillan to compose the score for Isadora. Panufnik felt unable to do this and this file contains correspondence between Kenneth MacMillan and Andrzej Panufnik, and between Camilla Panufnik and Deborah MacMillan which discusses this. At this time, the ballet was provisionally titled Off to Paradise. The material comprises

1. Letter from Andrzej Panufnik thanking Kenneth MacMillan for asking him to compose a new score for his new full-length ballet and explaining why he cannot do it. Panufnik instead suggests using and adapting some of his existing music and details how this could work. Typed on two sides of one sheet of letter headed paper and signed, 31 Jan 1979
2. Draft handwritten reply from Kenneth MacMillan to Andrzej Panufnik, declining Panufnik's suggestion of using existing music and asking if he can return Gillian Freeman's notes. With many crossings out. Undated
3. Draft handwritten reply, not in Kenneth MacMillan's hand, expanding on the draft above. Undated
4. Handwritten letter from Andrzej Panufnik to Kenneth MacMillan thanking him for his kind reply and expressing his gratitude for having been asked to write a score for his new ballet. 7 Feb1979
5. Typed letter from Camilla Panufnik to Deborah MacMillan explaining why Andrzej would have difficulty working with the scenario, and how he feels everything that would be needed for the ballet could be found in existing music. Two typed pages, signed. 12 Feb 1979
6. Off to Paradise, Notes and First Draft for a ballet by Kenneth MacMillan, scenario by Gillian Freeman. 16 typed pages including title page, time line of Isadora Duncan's life, Main Characters, two pages of general notes and 10 pages of plot and quotations for voice over. September 1978
7. Two typed pages of Off to Paradise, Revised Opening and Notes. Undated

The score for Mayerling was commissioned by Kenneth MacMillan from John/Jack Lanchbery, who used arrangements of music by Franz Liszt. This file comprises of

1. One handwritten airmail letter to Iris Law, Administrative Assistant at The Royal Ballet, about starting work on the score. 8 Nov 1976
2. One typed and four handwritten letters from Jack Lanchbery to Kenneth MacMillan, plus one telegram and one photocopy of a letter in the Royal Opera House Archives, discussing the score, its state of preparation, and changes and cuts requested by Kenneth MacMillan. The final letter discusses cuts for when the ballet tours to America and the request for a new song
3. One page of a handwritten list of Extracts Agreed, in an unidentified hand
4. One page of a handwritten letter from Bernadette [Greevy] to Kenneth MacMillan expressing regret that her song needs to be cut, with alternative suggestions, 28 Mar 1978