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Dance Advance was formed by six ex-dancers from The Royal Ballet. The Company commissioned a new work from Kenneth MacMillan for their inaugural season in March 1988 and he created Sea of Troubles for them, a distillation of William Shakespeare's Hamlet. The correspondence in this file includes handwritten letters from Susie Crow, one of the Artistic Directors and dancers, to Deborah MacMillan about performances in the Isle of Wight and in Spain, to Kenneth MacMillan explaining why the Company had to cease existence, from Anglia television about including the ballet in the Folio series, a programme from the Festival de Otono, Spain, and some background information to the ballet.

A letter from Graeme Murphy, Artistic Director of The Dance Company N.S.W., in response to one from Deborah MacMillan stating that the Company would be happy for the MacMillans to visit and see the Company at work while they are in Australia, 23 May 1978, with envelope

One typed letter from Mary Clarke to Deborah MacMillan on The Dancing Times headed notepaper, enclosing a photograph by G. B. L. Wilson, as the Royal Academy of Dance is disposing of many of his photographs

Kenneth MacMillan was Ballet Director of the Deutsche Oper Berlin from 1966 to 1969. Following this, Kenneth MacMillan returned to create and stage other works for the Company, including Different Drummer in 1991. The material in these files includes correspondence with the management of the Deutsche Oper, dancers, colleagues and friends, some financial details and printed items

The material in this file includes a handwritten letter from Keith Money asking about the possibility of Kenneth MacMillan and the Deutsch Oper Ballet's involvement in a film with Margot Fonteyn, handwritten diary notes on hotel notepaper, a cartoon showing Kenneth MacMillan and others dancing and autographed by Ray [Barra], [Gert Reinholm] and Tatyana [Gsovsky], a telegram from 'Waff Waff' [Gert Reinolm], a typed letter from Becky on New Art Centre headed notepaper, two postcards, a business card for Gert Reinholm and a carbon copy of a cast list for Vivaldi

This file of administrative correspondence between Kenneth MacMillan and the Deutsche Oper Berlin covers his period as Ballet Director. It comprises correspondence including rehearsal and stage schedules, terms and conditions for Kenneth MacMillan, arrangements re dancers, the contract for Monica Parker as choreologist, details for productions including Anastasia, The Sleeping Beauty and Swan Lake, a handwritten note from Kenneth MacMillan to Gert [Reinholm] and his handwritten letter confirming that he will not be renewing his contract

One ticket folder for the first night of an evening of Kenneth MacMillan ballets at the Deutsche Oper Berlin, 30 Nov 1966, a typed letter from Joan Benesh congratulating Kenneth MacMillan on his appointment and asking about arrangements for a choreologist for the company 15 May 1966, a contract for an apartment in Berlin signed by MacMillan, Lynn Seymour and Ray Barra 28 Jun 1966, a contract with the BBC for recording an interview and excerpt from Concerto 31 Dec 1966, and a cartoon Christmas greeting from Becky with envelope addressed to Barra, MacMillan and Seymour, date stamped 19 Dec 1966, with food shopping list in pencil on front

This file of correspondence between Kenneth MacMillan and the Deutsche Oper Berlin covers his period as Ballet Director and relates to financial arrangements and payments, and his right to work. It includes his contract from 16 Aug 1967 to 15 Aug 1968, work permits and authorisations, pay slips, rehearsal fees for some dancers, telephone and other charges, and correspondence with a removal company about his possessions

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works or suggestions of dancers from MacMillan, asking for visits to or from MacMillan, and from dancers requesting work or permission to attend rehearsals. It also includes letters from journalists, members of the public and others suggesting ideas or music for ballets, and general enquiries. It includes letters from Sonia Arova at Norwegian Ballet, Ray Barra, Nicolas Beriozoff, Alan Carter, Margot Fonteyn, Goran Gentele at the Royal Swedish Ballet, Martine van Hamel, Gary Sherwood, Joan and Rudolf Benesh at the Institute of Choreology, Rudy van Dantzig at Dutch National Ballet, Nadia Nerina, Monica Parker and Rouben Ter-Arutunian

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works and some more personal correspondence. It includes letters from Celia Franca at National Ballet of Canada, Gerd Larsen, Lucia Chase, Peter Darrell at Western Ballet Theatre, Erik Bruhn and Goran Gentele at Swedish Royal Ballet, Herman Hardenberg about Lynn Seymour, Mimi Paul, John Percival, Glen Tetley, Bronislava Nijinsky, Peter Wright, American Ballet Theatre, Jacobs Pillow, PACT Ballet, Capab Ballet and Ballet Nacional de Cuba