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One file of a chronology prepared by Jann Parry listing significant events in date order, from 1979-1992. It includes details of his last day, taken from a conversation with Deborah MacMillan

Correspondence relating to contracts for Cincinnati Ballet to perform Kenneth MacMillan's ballet Concerto with copies of a draft contract and contracts to be signed. There is a letter from Ivan Nagy, Artistic Director of the Cincinnati Ballet, enclosing two press reviews for Concerto and a handwritten letter from Kenneth MacMillan to Ivan Nagy about the possibility of the Company performing Elite Syncopations, and a booking leaflet for the 1988-1989 season including the first performance of Concerto.

The City of Westminster Society for Mentally Handicapped Children organised a ballet gala at the London Coliseum on 7 Oct 1979 at which Kenneth MacMillan's Sideshow and a pas de deux from Manon were performed. This file contains a letter from the Gala Chairman and Chairman of the Society, Rupert Mahaffy, thanking Kenneth MacMillan and enclosing accounts for the evening

Clement Crisp was a dance historian, author and critic, as well as Librarian and Archivist at the Royal Academy of Dance for many years. He was a good friend and supporter of the work of Kenneth MacMillan. The material in this file includes some writings on Kenneth MacMillan by Clement Crisp, but mostly comprises postcards, notes and letters that are humorous, often at the expense of people they both know, and could be considered offensive. The material comprises

1. Handmade card signed by Peter (Hollamby) and Clement (Crisp), undated. Peter Hollamby was Clement Crisp's life partner.
2. Carbon copy of two typed pages of a mock biography of Kenneth MacMillan, undated
3. Five postcards, one typed and two handwritten notes, including invitations and humorous comments about dancers and ballets seen, 1969-1992 and undated
4. Photocopy of an article from The Stage, surrounded by humorous comments by Clement Crisp in red ink, undated
5. Typed letter on The Biltmore Hotel, Los Angeles headed notepaper, gossipy letter, August 18, no year
6. Typed letter praising the work of Kenneth MacMillan, having seen Requiem, Song of the Earth and My Brother, My Sisters in quick succession, 7.5.1978
7. Carbon copy of four typed pages of biography of Kenneth MacMillan by Clement Crisp, describing his work from Danses Concertantes in 1955 to Images of Love in 1964, with corrections in blue biro, undated
8. 10 typed pages, Kenneth MacMillan and His Ballets by Clement Crisp, the first seven giving a brief biography and a review of his ballets up to Romeo and Juliet, three final pages on Romeo and Juliet, with corrections in black biro, copyright Clement Crisp, undated
9. Carbon copy of three typed pages, Orpheus: Programme Note for Covent Garden by Clement Crisp, with handwritten corrections in blue biro, with typed note to Kenneth MacMillan 'For your comments', undated but Orpheus had its first performance in 1982
10. Carbon copy of three typed pages, MacMillan's Orpheus by Clement Crisp, taken from an interview with Kenneth MacMillan, with corrections in blue ink, with typed note to Kenneth MacMillan 'for your approval', 15.4.1982
11. One page typed letter enclosing a ballet scenario (not included) by Walter Gruber for I Promessi Sposi, undated but 1979 from the contents of the letter
12. Page from The Illustrated London News, 18.5.1912, with an illustration of forcible feeding of women suffragist prisoner, with additions by Clement Crisp in blue biro
13. Page from a press cutting album with photos of dancers, with additional captions by Clement Crisp in blue biro, undated
14. One photocopy of a mock x-ray, dated 1.7.1974

In 1984 John Clifford, President of CliffCorps, organised an International Ballet Festival which included Wayne Eagling and Ravenna Tucker dancing a pas de deux from Kenneth MacMillan's Romeo and Juliet. This file includes correspondence from John Clifford to Kenneth MacMillan asking permission to include this pas de deux in a broadcast of the Festival on Public Television in the USA and possibly overseas, and his response to Kenneth MacMillan's refusal to this request. There is a typed page of potential format and content of the video performance.

Following Kenneth MacMillan's successful production of Kingdom of Earth, he received the following in relation to Tennessee Williams's play Clothes for a Summer Hotel

1. Letter from Saraband Associates enclosing a script and letter from Maria St Just, 12.7.1984
2. Copy of a letter from Maria St Just to Kenneth MacMillan, congratulating him on his production of Kingdom of Earth and asking him to consider directing Clothes for a Summer Hotel. The letter mentions other possible projects based on the works of Tennessee Williams, 9.7.1984
3. Copy of the script for Clothes for a Summer Hotel, 'a further revision, by the author, of the acting text published by Dramatists Play Service in 1981'. 81 pages including background details to the production, author's note, cast for the first performance and 39 pages of script, unbound and undated

Kenneth MacMillan supplied Colin Thubron with a recording of Benjamin Britten's The Prince of the Pagodas and the Royal Opera House commissioned Thubron to work with MacMillan on a scenario for the ballet. Thubron sent MacMillan a detailed breakdown of the action, charting it against the version by John Cranko. Material in this file charts the development of the scenario and Kenneth MacMillan's responses to Thubron's suggestions. The material comprises:

1. Sleeve notes for the first recording of The Prince of the Pagodas, conducted by Benjamin Britten and with a black and white photograph of The Royal Ballet in the Cranko version, 1957
2. Photocopy of the sleeve notes above, together with a photocopy of the programme for the first night of John Cranko's production of The Prince of the Pagodas
3. Photocopy of the action of the ballet by Colin Thubron
4. Four typed copies and one photocopy of detailed plotting typed by Colin Thubron, giving the time from the score, the stage action in the Cranko version, the music detailing the instruments and style/emotion, and suggestions for or the stage action in the MacMillan version, with slight variations between some. Two with typed covering letters from Colin Thubron to Kenneth MacMillan, 21 Sep 1987 and 30 Jun 1988 and additional notes.
5. Three handwritten letters from Kenneth MacMillan to Colin Thubron, drafts and copy (?) of a final version, explaining that he doesn't need Thubron to fill every section of the music with an idea and how he works in the studio, with Thubron's handwritten reply, with envelope, 7 Jul 1988
6. One handwritten postcard from Colin Thubron to Kenneth MacMillan from China, 12 Sep 1988
7. Two page typed letter from Colin Thubron to Kenneth MacMillan with extra Pagodas thoughts, 8 Apr 1989
8. Two typed copies of the synopsis, with covering notes from Colin Thubron to Kenneth MacMillan, undated and 21 Jun 1989
9. One handwritten letter from Kenneth MacMillan to Colin Thubron thanking him for the new recording and suggesting some cuts and changes to the order of dances in Act III, with two handwritten lists of Proposed Change of Order Act III, a handwritten reply from Colin Thubron to Kenneth MacMillan responding to his suggestions and making alternative proposals, 8 Aug 1989, and a photocopy of a handwritten reply from MacMillan confirming the changes, 17 Sep 1989
10. One typed and one handwritten letter from Colin Thubron to Kenneth MacMillan suggesting some changes post-production, 9 Dec 1989 and 4 Jan 1990, and a photocopy of a handwritten reply from MacMillan expressing pleasure that Thubron liked Pagodas, 22 Jan 1990

Collins One Day Any Year Diary used by Kenneth MacMillan as a five year diary. Each page has daily short entries for years 1979, 1980, 1981 and 1982. Records ballets he is working on, meetings, phone calls, travel as well as family and health issues.

This is one of two copies of Roxanne Shafer's play Come the Revolution. This one is accompanied by a typed letter from Roxanne Shafer to Kenneth MacMillan asking for his views on her enclosed script, 12.11.1983
The script is for Act one of the play and comprises the title page plus 82 pages, copyright 1983

This is a second copy of the script by Roxane Shafer for her play Come the Revolution and comprises both Acts I and II, with a title page, list of principal characters and 103 typed pages of script with a piece of plain blue paper dividing Acts I and II. In yellow card covers, dated copyright 1984