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Correspondence and typed material comprising

1. One typed letter from Tirzah Lowen about a book proposal on 'theatre beyond words' in which she would like to include the process of making a production. 8 Mar 1991. With Kenneth MacMillan's typed reply explaining that he is nervous to have anyone in the room initially but maybe she could attend some later rehearsals, 12 Jul 1991
2. Two typed pages of a review of The Judas Tree by Eric Bolton
3. Copy of a typed letter from James Rushton, Managing Director of Chester Music, to Anthony Russell-Roberts, Administrative Director of The Royal Ballet expressing his disappointment at the postponement of a revival of The Judas Tree and the effect this would have on the possibility of filming the ballet, 31 Mar 1995
4. One typed letter from the External Lectures Committee of the British Psycho-Analytical Society, London, to Deborah MacMillan thanking her for Irek Mukhamedov's schedule and the possibility of a talk when he is next appearing in The Judas Tree, 25 Jul 1996
5. Two copies of a typed note by Deborah MacMillan describing the genesis of the ballet and its content. With a hand-written note to Hywel David at the Royal Opera House describing her journey to the East End. Undated

Lucia Chase, dancer, co-founder and co-director of American Ballet Theatre, first met Kenneth MacMillan at the Royal Opera House, London in 1956. She immediately commissioned a new work from him for ABT which premiered the following year. She also took several of his works into the Company's repertoire and wrote often requesting a new work for her Company. The material in this file covers the first performance of Concerto, mentions of Las Hermanas, which Lucia Chase danced in, Danses concertantes, Romeo and Juliet and the creation of Pavane pas de deux for Gelsey [Kirkland] and Ivan [Nagy], and two covering letters enclosing payments for performances of Pavane pas de deux, Danses concertantes and Concerto during the Spring Season, 1978. There is an interdepartmental communication from Kenneth MacMillan to John Tooley about letting ABT perform Pavanne (sic), 14 Nov 1977

This file includes letters from dancer Bonnie Moore, actor Jon Pertwee, author and researcher at the BBC Robert Penman, dancer and company director Marie Rambert, designers Peter Snow, Yolanda Sonnabend and Ian Spurling, Kenneth MacMillan's ballet teacher Joan Thomas, and from Peter Wright

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

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

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

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.

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

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