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Six page handwritten letter from Chicago to Kenneth talking about staging The Wild Boy in Chicago without Natasha (Natalia Makarova) who will perform it in San Francisco. Lisa Houlton will perform instead, rather than Kenneth's preferred choice of Leslie (Browne). She reports of much sickness amongst the male dancers with Ross Stretton and Brian Adams being given opportunities. Also difficulties with management. She is teaching over the summer for Petrus Bosman at the University of Champagne Illinois and for Stanley Holden in Los Angeles. Mentions her family and their decision to sell their home in London and buy in Manhattan, 4.2.1982

Nine page handwritten letter from Miami Beach, Florida to Kenneth and Deborah MacMillan where Georgina is teaching for three weeks at a Summer School just outside of Miami, run by an Argentinian dancer who had been a member of (Alicia) Alonso's company in Cuba. Mentions Mikhail Baryshnikov spraining his ankle at the last matinee of the season, giving a mumbled end of season speech to the Company in which he mentioned the forthcoming association with Kenneth MacMillan but not the Company acquiring Romeo and Juliet which is, however, common knowledge amongst the dancers. Also discusses the performances of Triad. Talks about her family and plans for the rest of the summer, undated but with envelope postmarked 23.6.1984

Six page handwritten letter from Los Angeles to Kenneth and Deborah MacMillan, detailing the loft she and Roy (Round) have bought in Manhattan and the successful sale of the house in London, of Alexander Grant's having been fired from National Ballet of Canada, of her involvement with Video Disc - A Ballet Dictionary. a description of every step taken by a ballet dancer, using Kevin (McKenzie?) and Denise Jackson, Merrill Ashley and Georgina herself, 19.7.1982

Five page handwritten letter from Osaka, Japan to Kenneth and Deborah MacMillan reporting on the American Ballet Theatre tour to Japan, and looking forward to working with Kenneth on The Sleeping Beauty and Romeo and Juliet when back in New York, with envelope, 25.9.1987

Six page handwritten letter from San Francisco to Kenneth and Deborah MacMillan before rushing off to rehearse Kevin (McKenzie) and Martine (?), discusses new casts in Wild Boy, Mikhail Baryshnikov's lack of Artistic leadership, and her lack of plans for the coming year, undated

Three letters from Georgina Parkinson to Deborah MacMillan from America, comprising

1. Two page typed letter from New York talking about the pressure of working on Romeo (and Juliet). Julio Bocca is the only new Romeo and he is good, musical and fast to learn. She reports that Kenneth seems well and has just left for Toronto. She goes to Toronto for four days and then details her movements over the summer, 17.4.1988
2. Two page typed letter 'Over a Period of a Few Frantic Days', critical of Mikhail Baryshnikov and the way he is treating Kenneth. Georgina is off to Korea soon, resentful that she can't enjoy her work at ABT, undated
3. Two page typed letter, 'Friday Night', reporting on the toxic atmosphere at ABT and how badly Mikhail Baryshnikov is behaving, undated

Two letters from Georgina Parkinson to Kenneth and Deborah MacMillan, from America, comprising

1. One page typed letter, 'Day Four', typed just before leaving for the theatre, all three working for the same goal of The Sleeping Beauty, undated
2. Two page typed letter complaining about San Francisco and the intolerable atmosphere around the theatre, undated

Letters of appreciation and query from members of the public, some apparently known to Kenneth MacMillan, in praise of his talent and his work. Ballets mentioned include Romeo and Juliet, Requiem, My Brother, My Sisters, Mayerling, La Fin du jour, Valley of Shadows, Gloria, A Lot of Happiness, Isadora, and reference performances in London and Bristol in England, in New York and Washington in America, and on television. There is a letter from the young Jon Gray, future Editor of The Dancing Times

Letts 1983 Diary used by Kenneth MacMillan as a four year diary. Each page has daily short entries for years between 1983, 1984, 1985 and 1986. Not every page has entries for all four years. Records ballets he is working on, meetings, phone calls, travel as well as family and health issues.

The material in this file includes negotiations between Kenneth MacMillan and Partner and the Paris Opera Ballet for the production of Manon by the Company. There is correspondence with the Bureau de Musique Mario Bois concerning copyright in the choreography and in the score prepared by Leighton Lucas. There is also correspondence concerning the law suit taken out by Mme.Besson Massenet, a descendent of the composer Jules Massenet, and the National Video Corporation, and between Kenneth MacMillan and Partner agreeing to the ballet being performed as L'Histoire de Manon in France, 1990-1992