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Kenneth MacMillan created the one-act ballet Sea of Troubles for Dance Advance which premiered on 17.3.1988 at the Gardner Arts Centre at the University of Sussex. It is a distillation of Shakespeare's Hamlet and was designed by Deborah MacMillan. The material comprises:

1. One two-page typed letter from Martin D. Pring enclosing tapes of musical possibilities for the ballet, including pieces by Botislavu Martinu, Anton Webern, Alban Berg, Charles Ives and Dmitri Shostakovitch, 27Oct1987
2. One design by Deborah MacMillan for Sea of Troubles Curtain, with handwritten notes, initialled DM, on A4 paper with pencil sketch on reverse
3. One page torn from a filo-fax with a handwritten list by Deborah MacMillan of costume and prop items required for the ballet

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 was appointed Director of the ballet of the Deutshe Oper Berlin in 1966. He created a new production of The Sleeping Beauty for the Company which had its premiere on 8.10.1967. The material comprises:

1. Three handwritten pages by Kenneth MacMillan describing his experience of The Sleeping Beauty and his vision for this new production. With a typed version with handwritten corrections. Undated
2. Double page spread from a souvenir programme (?) of magazine with Kenneth MacMillan's article in German. There are also articles by Horst Koegler and Clement Crisp, and b/w illustrations of designs by Barry Kay. Undated but gives the premier date of 8.10.1967
3. Carbon copy of three typed pages of a review by Clement Crisp of the opening of The Royal Ballet season, comparing it unfavourably with Kenneth MacMillan's new production of The Sleeping Beauty in Berlin, undated
4. One typed letter from Michael Anderson, London International agents, to Kenneth MacMillan, enclosing a photocopy of a review from the Daily Express, 13.10.1967

Kenneth MacMillan became Director of The Royal Ballet in 1970 and mounted a new production of The Sleeping Beauty for the Company which had its premiere on 15.3.1973 at the Royal Opera House, London. The material comprises:

1. Five handwritten pages in unidentified handwriting, giving the cast for La Belle au Bois Dormant, Sadler's Wells Theatre Ballet, incomplete and incorrect. In black biro, undated
2. A sheet of self-adhesive labels with two labels with handwritten notes by Kenneth MacMillan in pencil, undated
3. One photocopy of a sketch for a carnival character with writing top right of the sheet, by Peter Farmer (identified by Deborah MacMillan), undated
4. One page of fabric swatches stapled to the paper, with handwritten details of the fairies names, some casts and additional handwritten notes by Kenneth MacMillan
5. 11 greetings telegrams to Kenneth MacMillan for the first night, 15 and 16.3.1973

Kenneth MacMillan was appointed Artistic Associate to American Ballet Theatre in 1986 and created a new production of The Sleeping Beauty that premiered on11 Feb 1987 in Chicago. The material comprises one page of handwritten notes about numbers of performers, in purple felt tip pen, undated, three pages of cast lists showing additional characters and name changes (large), and six telegrams of best wishes and congratulations, 10-12 Feb 1987. There is an envelope with some handwritten notes by Kenneth MacMillan on the back that may relate to this production, undated but postmarked 1 Jul 1988

Kenneth MacMillan created the one-act ballet Solitaire for Sadler's Wells Theatre Ballet which premiered on 5 Jun 1956 at Sadler's Wells Theatre, London. Lorna Mossford was a dancer with the Vic-Wells, later Sadler's Wells and Royal Ballet companies. She became Ballet Mistress to Sadler's Wells Theatre Ballet and staged Solitaire when it was performed by the Stuttgart Ballet in 1961. This notebook gives detailed verbal and visual descriptions of the ballet, with some dancers' first names given. Solitaire Property of Lorna Mossford is written on the cover in black biro. In black biro, graphite and red pencil, n.d.

Kenneth MacMillan created the one-act ballet Somnambulism for the Sadler's Wells Choreographic Group which premiered on 1.2.1953 at Sadler's Wells Theatre. The material comprises one greetings telegram to Kenneth MacMillan from Frank..., dated 21.1.1953

Kenneth MacMillan created the one-act ballet Song of the Earth for the Stuttgart Ballet which premiered on 7.11.1965 in Stuttgart. The material in this file comprises

1. Two photocopied pages giving the cast and understudies for the revival by The Royal Ballet in the 1983/84 season
2. Four photocopied pages of page proofs for the Royal Opera House programme, 24.2.1984, with programme notes and cast
3. Two photocopied pages, as item 1, with handwritten notes by Kenneth MacMillan for the cast for a later revival by The Royal Ballet, with a sheet of lined paper with some numbers and three names handwritten by Kenneth MacMillan
4. Four pages torn from a programme, possibly for the first performance by Birmingham Royal Ballet in 1997, with programme notes and photographs of performances by the Stuttgart Ballet and The Royal Ballet

Kenneth MacMillan created a new production of the four-act ballet Swan Lake for the Deutsche Oper Berlin which premiered on 14.5.1969 in Berlin. The material comprises two typed pages by Kenneth MacMillan describing his version of the ballet, with a carbon copy of the pages. Undated

Kenneth MacMillan created the Venusburg Ballet for Richard Wagner's opera Tannhauser using dancers from London Contemporary Dance Theatre which received its premiere on 25.9.1984 at the Royal Opera House, London.
The material comprises

1. Photocopies of correspondence between Elijah Moshinsky, director, and John Tooley, General Director of the Royal Opera House, London, 9.1.1984 and 11.1.1984
2. Two handwritten postcards from Elijah Moshinsky to Kenneth MacMillan, one enclosing a copy of the score, one thanking MacMillan for his work
3. One handwritten and one typed letter from Colin Davis, Music Director of The Royal Opera and conductor for Tannhauser, to Kenneth MacMillan both expressing his pleasure at the prospect of working with Kenneth MacMillan and one enclosing a tape of the music for the ballet, 22.3.1984 and 5.6.1984
4. One typed letter from Rashna Homji to Kenneth MacMillan, suggesting some alternative dancers in the event she is unable to appear in Tannhauser, 10.7.1984
5. One typed letter from the Contracts Manager at the Royal Opera House, London to Kenneth MacMillan, confirming the dancers engaged for Tannhauser, 18.7.1984
6. Two greetings cards from dancers to Kenneth MacMillan on the first night, 25.9.1984
7. One greetings card from Romayne Grigorova, Ballet Mistress of The Royal Opera
8. One handwritten letter from Elijah Moshinsky, Director of Tannhauser, to Kenneth MacMillan apologising for not explaining that his ballet would not be included in the revival of Tannhauser, 1.8.1987