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This file contains:

1. Lists of ballets in the repertory and sets for possible sale, 1970
2. Royal Opera House provisional Schedule, Aug 1970-Jul 1971
3. The Royal Ballet season, performances and stage calls, 1970/71
4. The Royal Ballet casts for New York Season, 1976
5. Draft press release for 1976/77 season
6. Natalia Makarova scheduled performances at the Royal Opera House, Nov/Dec 1976
7. Royal Opera House provisional schedule, 1976/77
8. The Royal Ballet 1976/77 season future repertoire, with handwritten notes re casts
9. The Royal Ballet 1976/77 season future repertoire, with typed casts and handwritten notes
10. The Royal Ballet School performances, 1976/77, two typed lists with handwritten notes
11. The Royal Ballet 1976/77 season scheduled repertoire, Mar-Jul, typed with handwritten casts
12. Royal Opera House provisional repertoire, 1977/78
13. Cast list for 6.6.78, SWRB season 1978/79
14. Provisional cast for Gloria, 1979/80
15. Two copies of Royal Opera House schedule 1979/80, one with changes
16. Cast list for the Royal Ballet School performances in 1980
17. Cast list for Song of the Earth 1979/80, with annotations
18. Rehearsal calls for The Royal Ballet for week commencing 12 July (no year), with handwritten notes

This file contains material relating to the creation of costumes, props, scenery and projections required for the production of Isadora and includes correspondence and lists from different production departments in the Royal Opera House, Covent Garden during the making of the ballet. It comprises

1. Two cast lists, one typed and one photocopied with surnames of the different dancers who will be performing each role. The typed list has annotations on the reverse by Kenneth MacMillan for casting. There are additional annotations on the front not all by Kenneth MacMillan. Undated
2. Five Costume Plot lists on large paper giving the Character, scene and costume required. Four comprise one plot each for Principals and for Company/Actors for Act I and Act II. Undated though the production date is given as April 1980. With envelope addressed to Kenneth MacMillan at the Operan Kungil Teatern, Stockholm, postmarked 5 Nov 1980. There is an additional costume plot for Act I which has some handwritten additions by Kenneth MacMillan
3. Typed costume list for the character Isadora, with details of what costume for each scene
4. Handwritten note from Kim Baker, Wardrobe Supervisor, on Royal Opera House headed notepaper, to Kenneth MacMillan enclosing photostats of the Extra Russian Peasants that Barry Kay, designer, would like. With three black and white photocopies attached. Undated
5. Three pages from a 1981 diary with a handwritten list of scenes with the extras/actors required for each scene. Four company names are included, in red ink. There is a note attached on a Royal Opera House compliment slip Still Need: 1 male extra
6. Photocopy of four typed pages of Points discussed between Mr MacMillan, Miss Baker and Miss Pullen, 8.8.1980. Gives a list of the Principal casting following cuts made, then a scene by scene list with characters appearing in each scene. From Janice Pullen, Wardrobe Director, Royal Opera House
7. Handwritten letter from Janice Pullen to Kenneth MacMillan, enclosing draft plots of Act I and II, following their meeting on 8th August (see item 2). Attached is a photocopy of a list of costumes required for each act
8. Four typed pages of a Resume of Principals, Company and Extras, as stated at the last meeting of 2.11.1980. There are annotations by Kenneth MacMillan giving the names of dancers for some roles, and further annotations by Kim Baker
9. Typed letter from Janice Pullen to Kenneth MacMillan, enclosing minutes of their last meeting. Attached are four typed pages recording the meeting held on 31.10.1980 in Sir John Tooley's office. The meeting discussed the additional costumes required due to a change in the set, and the notes include a break down of the number of characters appearing in each scene. There are annotations by Kenneth MacMillan
10. Photocopy of four pages of handwritten list of costume available and to be worn at the first dress rehearsal on 25th April. Costumes not available are highlighted in orange marker pen. Undated
11. Photocopy of 17 black and white photographs of the model set designed by Barry Kay, shown with changes between each scene. Undated
12. 13 pages, 12 photocopies and one of mounted images with Barry Kay's handwritten descriptions, of Projections and Effects. The 13 pages comprise a title page, two pages of description of themes, of the equipment required and a proposed working method, and ten pages of images for each scene requiring projections and a description and explanation. Undated
13. Seven pages of a handwritten list for Hand Props, detailing what props are required by which character for each scene. In blue biro and pencil, undated
14. Photocopy of four pages of a typed Preliminary Props List (3), 8 Aug 1981
15. Photocopy of four pages of a typed Preliminary Props List, as item 14 but with annotations
16. Inter Departmental Communication from Keith Gray, Ballet Stage Manager, to Kenneth MacMillan giving timings for each scene. Undated
17. Black and white photocopy of a design for character danced by Ross MacGibbon, with handwritten note by Kenneth MacMillan asking for change to the trousers (large)

1. Four typed pages of Mayerling - Costume Breakdown, giving a list of characters for each scene, design number and names of dancers, from Morgan Rendell, Wardrobe Master, 20 Oct 1977. With handwritten annotations by Kenneth MacMillan in purple felt tip pen
2. Three typed lists of names of the dancers in specific scenes. On the reverse of one page are handwritten lists by Kenneth MacMillan comparing the different dances in Manon and Mayerling
3. One photocopy of a typed page of provisional casting
4. Nine photocopies of typed pages of programme notes by Gillian Freeman, John Lanchbery and Edward Thorpe, one with a typed covering note from Peter Brownlee to Kenneth MacMillan, on Royal Opera House headed notepaper, 23 Jan 1978
5. One typed page of the list of characters for the programme
6. Four photocopies of typed pages of the list of characters and the synopsis for the programme
7. Nine pages of the proof-copy of the programme, with some notes typed in red on Edward Thorpe's programme note
8. One carte de visite photograph of the Emperor Franz Josef
9. One page of a handwritten letter to John(Tooley) from Kenneth MacMillan complaining that the first night of Mayerling is to be a Gala performance in the presence of The Queen Mother. With a typed reply from Claus Moser, Chairman of the Royal Opera House and apologising for not consulting Kenneth MacMillan about this decision, 15 Dec 1977
10. One handwritten list by Kenneth MacMillan listing four of his ballets and the number of performances (?). On the reverse of a telegram from Stuttgart Ballet giving permission for Concerto to be performed by The Royal Ballet
11. One typed receipt from Nicholas Georgiadis acknowledging receipt of payment for design of projected alterations for the January 1980 revival of Mayerling, signed
12. One typed letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, to Kenneth MacMillan about proposed changes to the design which would make the ballet easier to tour. 3 Apr 1986

The material in this folder is of unidentified and/or undated items. It includes a compliments slip from Michael Wood, press officer for the Royal Opera House, tickets for a performance of a triple bill in a Royal Opera House envelope addressed to Kenneth MacMillan, a plan of the stage of the Royal Opera House indicating the groups of staff being presented to the Royal Party, an invitation to a party in Studio 45 [Floral Street] possibly from Andy [Warner, Occupational Health Nurse] and Val [Connell, Dye Shop], handwritten notes relating to unidentified ballets, one typed and one handwritten letter from John [?] re setting up a production company

Kenneth MacMillan invited Jerome Robbins to mount his one act ballet Dances at a Gathering on The Royal Ballet as soon as his appointment as Artistic Director was announced. The correspondence from Jerome Robbins congratulates Kenneth MacMillan on his appointment and discusses rehearsal schedules, casting and Robbins's ill-health

Administrative correspondence and some personal notes. There is a submission to The Royal Ballet Board of Governors by David Drew, and a photocopy of a letter from Anthony Russell Roberts to HRH The Princess Margaret, about The Royal Ballet wage dispute, 1990. Peter Wilson, Honorary Secretary of The Royal Ballet Governors, sends a Royal Opera House precis of The Arts Council Appraisal and the Price Waterhouse Review, together with the Royal Opera House press statement, 1992
Correspondence includes:

1. from Jeremy Isaacs apologising for having to cancel a performance of The Prince of the Pagodas, 1990
2. a handwritten fax and 'Margot piece' with a tickets for the performance of Romeo and Juliet given as A Tribute to Dame Margot Fonteyn, 1990
3. two letters about the Queen Mother's 90th birthday tribute, with Kenneth MacMillan's name badge, 1990
4. two faxes about the pas de deux from Winter Dreams, 1990
5. from Publications Department re programme notes for Manon and Concerto, 1990, Gala programme for The Prince of the Pagodas, The Judas Tree and Mayerling, 1992
6. Handwritten draft letter to Anthony Dowell re 'Sylvie Guillem problem' , 1990
7. with Dr Joan Watson on naming a plant fossil in his honour, 1992
   There are handwritten drafts of a recommendation for Kim Baker, formerly of Royal Opera House Wardrobe Department, notes about Yolanda Sonnabend, and a draft letter of condolence to Camilla Panufnik on the death of her husband Andrezj, plus a page of notes

Administrative correspondence includes minutes and notes of meetings of the Development Working Group, 1984, re Manon in Australia, Anastasia, 1985, video recordings at the Royal Opera House, 1986-87, the revivals of Rite of Spring and Romeo and Juliet in 1987/88 and 1989, dedicating performances of Gloria and Requiem to the memory of Julian Hosking and Greg Bellamy, 1989, the proposed move of Sadler's Wells Royal Ballet to Birmingham, 1989, request from Hong Kong Ballet to purchase Rituals, 1989, and plans for celebrations for Kenneth MacMillan's 60th birthday in 1989. A letter from Bernard Haitink expresses his joy at conducting performances of Romeo and Juliet, 1989.
Press cuttings cover the dispute between Kenneth MacMillan and Michael Somes, 1984, Norman Morrice's response to criticisms over standards at The Royal Ballet, 1985, and a short interview with Jennifer Penney, 1985.
Press releases cover the appointment of Kenneth MacMillan as Artistic Associate of American Ballet Theatre, 1984, and of Isaiah Jackson as Music Director of The Royal Ballet, 1987, and there are interdepartmental communications listing press nights.
There is correspondence:

1. between Kenneth MacMillan, Ninette de Valois and Ann Nugent following Nugent's article in The Stage reporting Madam's criticism of contemporary choreographers, plus a copy of the article, 1985
2. between John Sainsbury and Kenneth MacMillan re MacMillan's concern at the Board's lack of confidence in him, plus a letter from Jeremy Isaacs to Maggi Hambling in response to MacMillan's concern expressed in an article in the Evening Standard, 1989
3. from Ninette de Valois recommending Rumer Godden [possibly to assist with the scenario for The Prince of the Pagodas], n.d.
4. Kenneth MacMillan's handwritten notes and final version of a tribute to Barry Kay, plus copies of the order of service and a handwritten card from Michael [Werner], and a telegram from John Tooley expressing sympathy, 1985
   There is a menu for a dinner in honour of Claus Moser, 1987, and two copies of the Order for the Service of Thanksgiving for the life of Sir Frederick Ashton, 1988

Correspondence from administrative and artistic staff at the Royal Opera House including Anthony Russell Roberts, John Tooley, Paul Findlay, Peter Wright and Norman Morrice, the press and publications departments. It includes a handwritten draft and typed letter from Kenneth MacMillan to the Editor of The Guardian Newspaper and a typed letter from Peter Wright to Linda Christmas, in response to her article criticising MacMillan's period as Artistic Director of The Royal Ballet, concerns raised by Kenneth MacMillan and Norman Morrice about technical standards at the Royal Opera House, events to celebrate the 50th anniversary of The Royal Ballet and Sadler's Wells Royal Ballet in 1981, a performance of Romeo and Juliet to celebrate the marriage of TRH The Prince and Princess of Wales, 1981, Ninette de Valois's 80th birthday, the proposed premiere of The Prince of the Pagodas in 1983, to Cameron Mackintosh Productions re the possible release of Stephen Jefferies, the Financial Scrutiny of the Royal Opera House by Clive Priestley, the redevelopment of the Royal Opera House, possible performances by Natalia Makarova in the 1984/85 season.
There are handwritten letters from Ninette de Valois and her brother Gordon Anthony re Madam's 80th birthday, from Colin Davis and Norman Morrice, and postcards from Peter Wright from Yugoslavia, 1981, from Leslie Edwards, Monica Parker and Michael Somes from Japan and China, 1983.
Interdepartmental communications give details of press nights, interviews and photographers

The material in this file covers the period when Kenneth MacMillan was Artistic Director of The Royal Ballet from 1970-1977.
Administrative material includes letters from Garrett, Lord Drogheda and Claus Moser, Chairmen of the Royal Opera House Board, John Tooley, John Copley and includes issues that arose with the dancers, with the Ballet Sub Committee and Board of the Royal Opera House, and Kenneth MacMillan's handwritten draft replies.
Letters from individuals include from Michael Benthall, Adrian Boult and Richard Buckle. There is a copy of a letter from Lincoln Kirstein to Richard Buckle about controversies that arose during The Royal Ballet's tour to New York in 1974 concerning Rudolf Nureyev, a telegram from Her Majesty Queen Elizabeth II, material relating to the Silver Jubilee Gala in 1977, the first night of Anastasia in 1971