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Kenneth MacMillan was commissioned by Granada Television to create a new version of the Bertolt Brecht/Kurt Weill The Seven Deadly Sins specifically for the cameras. It was titled The Seven Deadly Sins of the Bourgeoisie following Brecht's original 1933 German title, and included music from The Threepenny Opera. The work was first transmitted on 22.4.1984. Material in the files includes handwritten notes by Kenneth MacMillan, research material, correspondence, rehearsal schedules and camera scripts

Kenneth MacMillan choreographed three versions of the one act ballet The Seven Deadly Sins between 1961 and 1984. The purpose of this Benesh Movement Notation score was to record the choreographic content of excerpts from Kenneth MacMillan's three existing productions of The Seven Deadly Sins as a resource for the creation of a new, site-specific production at Wilton's Music Hall, London in 2019. This file comprises

1. 15 pages comprising a title page, background to the project and details of cast and actions and a stage plan of Wilton's Music Hall, 2019
2. A copy of the master score, 71 pages

Piano vocal score for Die 7 Todsunden der Kleinburger (The Seven Deadly Sins) by Kurt Weill and Bertold Brecht, published by Edition Schott, printed in Germany. The front cover has an image of the two Annas, in black and white with blue highlight, the back cover has an image of the house. With some annotations by Kenneth MacMillan on the contents page, in black felt pen. There is a typed interdepartmental memo slipped into the volume at page 115 which gives the names of the Seven Deadly Sins Singers

A typed script of The Seagull by Anton Chekhov translated by Michael Frayn, Sep 1985, 84 pages including title page, 14 pages of introduction with a note on the translation by Michael Frayn, one page of characters, one page on the pronunciation of names and 67 pages of the play, Sep 1985, with compliments slip from Fraser & Dunlop Scripts Ltd,

This file contains:

1. Correspondence from Peter Darrell asking if Kenneth MacMillan would create a ballet for the Company in 1977, and asking him to release Anthony Dowell to dance with them, 28 May 1976
2. Typed letter from Sue Weston, Director of The Scottish Ballet Workshop, asking if Kenneth MacMillan will create a work for them, 20 Mar 1980, with envelope

One typed letter from Mark Featherstone-Witty inviting Kenneth MacMillan to the launch of the School for Performing Arts on 6 Feb 1989 at Abbey Road Recording Studios, London. Speakers will include Kenneth Baker, Secretary of State for Education, and the Chairman of the British Phonographic Society and George Martin from Abbey Road Studios

Black and white photographs of the first performance of Manon by the Swedish Royal Ballet, 1981, and colour photographs of the first performance of Mayerling by the Swedish Royal Ballet, 1997. Four photographs mounted on card with 'Thank You!' handwritten on card, one each of Kenneth MacMillan, Las Hermanas, Romeo and Juliet and Manon (large). One composite card showing Kenneth MacMillan taking a rehearsal in the studio with a photograph of Romeo and Juliet town scene, and 'Stockholm 5 & 6 December 1969' handwritten on card, the reverse with signatures of members of the Company (large)

This file contains:

1. Agreement for Concerto, 1968
2. Two letters from Brigitta Bergrren-Hedin, one including a request for two dancers to perform the Romeo and Juliet balcony pas de deux at Varna, and comments on Erik [Bruhn], 14 May 1970
3. Christmas postcard with black and white photograph of the Company in Les Noces (Robbins), 1971
4. Letter from Ivo Carmer re casting Romeo and Juliet, 7 May 1979
5. Letter from Veil Bethke re performing Manon in 1980, a typed list of the opera/ballet dancers in the 1979/80 season, with Kenneth MacMillan's note for corps de ballet roles, double page leaflet with head shots of the company members for the 1979/80 season with K. MacMillan's notes re roles
6. Invitation to a meeting of The Ballet Club of the Royal Opera, 13 Nov 1980, with envelope
7. Good luck telegrams from Norman [Morrice] and Iris [Law] for the first night of Manon, 22 Nov 1980
8. Greetings card from The Royal Swedish Ballet thanking K MacMillan for Manon, 22 Nov 2980
9. Letter from Gunilla ? enclosing a photocopy and a translation of a review of Manon during The Royal Swedish Ballet's tour to the Soviet Union,1981
10. Handwritten postcard from Desmond Reid re Princess Lillian of Sweden attending the opening performance, with envelope, n.d.
11. Correspondence between Kenneth and Deborah MacMillan, Kenneth MacMillan's Agent Kenneth Ewing and Solicitor David Ashby, and The Royal Swedish Ballet concerning performing rights for Romeo and Juliet and Manon, including copies of agreements, 22 Oct 1987-29 Jun 1988
12. Letter from Nils-Ake Haggbom inviting Kenneth MacMillan to look at the Company, do new casting for Manon, and discuss a new work, 20 Feb 1990, including a schedule of performances