Showing 839 results

This stereo long playing record of Ragtime Classics by Scott Joplin, directed by Gunther Schuller, was issued by EMI Records Ltd in 1973. It includes several of the pieces that Kenneth MacMillan used in his ballet Elite Syncopations

These commercially produced recordings relate to music used by Kenneth MacMillan for some of his ballets

The material in this file contains research material relating to the religious background for this ballet. It comprises

1. One handwritten letter from The Rev. Dr. John Brothwood to Deborah and Kenneth MacMillan accompanying some background on the apostles. Dr Brothwood promises to send more information if he can find any. 14 Dec 1991
2. Two pages of photocopies of four pages from The Gnostic Gospels by Elaine Pagels, published by Penguin, 1990.
3. 12 pages of photocopies of 24 pages from an uncredited publication. They give brief biographies of the apostles and disciples, listed in date order of their saint's day. The names of some apostles and disciples have been underlined in yellow marker pen and there are some under-linings and notes by Kenneth MacMillan in blue felt-tip pen.
4. Eight pages of photocopies of 16 pages from Words and Idioms Associated with Judas Iscariot, by Wayland D Hand, with note of publication and British Library catalogue reference (large)
5. 19 pages of photocopies of 37 pages from The Mediavel Legend of Judas Iscariot by Paull Fanklin Baum, with note of publication and British Library catalogue reference (large)
6. 12 pages of photocopies of 24 pages from Tales From Ulithi Atoll by William A Lessa, with note of publication and British Library catalogue reference (large)
7. Five typed pages of Notes on Mary and Judas taken from series That Week in Jerusalem (Ronald Eyre/BBC 1) Easter Week 1991. Mary Madgalene was played by Juliet Stevenson and Judas Iscariot by Bruce Alexander. The notes give background and character details, and notes of significant events. They also discuss their position in society

This file includes reference materials, pre-production correspondence and some post-production material. It comprises:

1. Three typed pages of biography and two b/w photographs of two ballroom dancers, Peter Maxwell and Vicki Regan
2. Photocopies of reference images of America in the 1920s, plus one page about Kuhle Wampe oder Wem Gehort die Welt? the film worked on by Bertolt Brecht, Germany 1931.
3. One page typed letter from Helen McMurray to Kenneth MacMillan, researcher, enclosing the Auden translation and a plain prose crib from Berlitz Translations, 20.8.1982
4. One handwritten and two typed letters from Helen McMurray to Kenneth MacMillan, enclosing handwritten rehearsal schedule 22.9.1982, timings and some press cuttings 25.11.1982 and draft submission to Equity re Lesley Browne 26.11.1982
5. One typed letter from Steve Hawes, Producer, to Kenneth MacMillan, enclosing information on what was happening in Germany and to the Brechts in the months leading up to the first performance of the Seven Deadlies in Paris, 26.1.1983
6. One handwritten letter from Christopher Logue to Kenneth MacMillan, enclosing copies of correspondence with Granada Television re Logue's commission to prepare a new translation of The Seven Deadly Sins, with a photocopy of his translation of the Prologue, 2.6.1983
7. One typed letter from Steve Hawes to Kenneth MacMillan with photocopy of biography of Kenneth MacMillan for ITV's Handbook, 13.6.1983
8. One typed letter from Denis Forman, Chairman of Granada Television, 22.6.1983
9. Photocopies of six pages of script with 15 pages of printed music and a covering note from Steve Hawes, asking for Kenneth MacMillan's opinion, undated
10. One handwritten letter from Helen McMurray to Kenneth MacMillan enclosing photocopies of press reviews June 1983-April 1984, letter dated 1.5.1984
11. Eight page soft-back booklet with extending covers produced by Granada Television, containing colour reproductions of some of the costume designs by Yolanda Sonnabend, cast list and production credits, brief background and selected biographies, with a handwritten compliments slip from Helen McMurray, undated
12. One handwritten postcard from Michael Leonard (surname illegible) congratulating Kenneth MacMillan on the new work, undated

1. Evacuation Registration Card for Kenneth MacMillan in Great Yarmouth
2. National Registration Identity Card for Kenneth MacMillan, 1950-1951, showing three addresses in London
3. UK Passport for Kenneth MacMillan, issued 1948
4. UK Passport for Kenneth MacMillan, issued 1954
5. UK Passport for Kenneth MacMillan, issued 1964
6. British Actors Equity Association Application and Membership Card, 1983
7. Royal Opera House parking permit, n.d.
8. Identity Card in Russian in Russian with English translation: 'Please communicate my particulars to British Military Mission Moscow', n.d.
9. Membership cards for Metropolitan Opera Association, 1988, and The Metropolitan Club, n.d.
10. ACTT Membership Card 1986-1989 with details of subscriptions paid
11. Royal National Theatre Visitor pass, 30 Mar 1992

The correspondence in this file includes students researching for school projects and undergraduate thesis, members of the public seeking information about music for ballets, journalists wishing to interview Kenneth MacMillan including the Kennel Club, and designers asking Kenneth MacMillan to look at their work. There is an autograph draft reply to one letter, one of the letters has handwritten domestic notes on the reverse and one envelope has pencil sketches on the reverse

The correspondence in this file includes requests for autographs and photographs, and a contribution to the Friends of St Georges Society, Great Yarmouth

72 requests for tickets for the Service of Thanksgiving for the Life and Work of Sir Kenneth MacMillan held at Westminster Abbey, London on 17 Feb 1993. These come from colleagues, dancers, medical professionals, agents, and friends, including Jean Bedells, Alicia Markova, Anne Heaton, Michael Boulton, Colin Thurbron, Mary Clarke, Peter Brinson, Zoe Dominic and Arlene Philips, plus members of staff at performing arts organisations including the Royal Academy of Dance, Royal Opera House, Royal Ballet School, Theatre Museum, Dancing Times, Tate Gallery

Kenneth MacMillan created the ballet **Requiem to Andrew Lloyd Webber's music for American Ballet Theatre which received its premiere on 7 Feb 1986 in Chicago, USA. Webber's score had first been performed in concert in 1985. The material comprises:

1. One programme for a concert performance at The Palace Theatre, London, in 1985, with annotations by Kenneth MacMillan in pencil and red felt tip pen (large)
2. One page of handwritten notes by Kenneth MacMillan giving the movements and the dancers. On American Ballet Theatre headed notepaper. In pencil, undated
3. One page of handwritten notes by Kenneth MacMillan giving the inspiration behind the ballet. In blue biro and red felt tip pen. Undated
4. Two typed lists of dancers names, First Draft 6 Nov 1985, Second Draft for Costume Fittings 9 Nov 1985
5. Three photocopied pages of a letter to Yolanda Sonnabend from Gary Dunning, General Manager, American Ballet Theatre, discussing arrangements and timings for the designs and their implementation, 18 Jun 1985, with envelope

Kenneth MacMillan created the one-act ballet Requiem for the Stuttgart Ballet which received its premiere on 28 Nov 1976 at the Wurttemberg State Theatre, Stuttgart, Germany. The ballet is a memorial to John Cranko who had died three years earlier. Kenneth MacMillan had intended to create the ballet for The Royal Ballet but the Board of the Royal Opera House considered the use of Faure's Requiem unsuitable for a ballet. The Royal Ballet first performed the work in 1983. The material in this file comprises:

1. One handwritten draft letter from Kenneth MacMillan to the Archbishop of Canterbury asking his opinion on the use of the Requiem to create a dance work. One carbon copy of this letter typed , 9 Mar 1976. One typed letter from Allan Wicks, The Organist, Canterbury Cathedral to Kenneth MacMillan, responding on behalf of the Archbishop. He sees no objection to the music being used to create a ballet, 15 Mar 1976
2. Handwritten note from Jasia Reichardt to Yolanda Sonnabend, designer of Requiem, attaching a ground plan for the Wurttemberg State Theatre, Stuttgart, showing the scenery for Requiem. Undated
3. Three good luck telegrams for the first night in Stuttgart, from The Royal Ballet Press Office, Barry [Kay] and John (?), one with envelope. 26 Nov 1976
4. One page from Dance and Dancers, with comment asking what the Board of the Royal Opera House does, and why they refused Kenneth MacMillan permission to use Faure's Requiem for a ballet
5. Handwritten letter from Alan Beale to Kenneth MacMillan saying what a triumph Requiem had been in Washington. Dated June 1st, Washington. Envelope date stamped 2 Jun 1977 (Alan Beale re Stuttgart written in blue biro on front of envelope by Jann Parry) in blue ink, with decorations by Charlotte MacMillan in black felt pen on the letter and envelope
6. Typed letter from Peter J. Rosenwald enclosing a review from the Wall Street Journal for the first night in New York, and praising the ballet, 28 Jun 1977 (the review is filed with Press Cuttings)
7. Three good luck telegrams for the first night in London by the Stuttgart Ballet, 2 Jun 1978
8. Hand written letter from Pauline Clayden to Kenneth MacMillan, thanking him for Requiem, 5 Jun 1978, with envelope
9. Handwritten letter from Richard Ralph, Principal of London Contemporary Dance School, to Kenneth MacMillan expressing admiration for Requiem, after a performance by The Royal Ballet, 8 Dec 1983, with envelope
10. Four pages of record sleeve notes for a recording by EMI, with handwritten annotations by Kenneth MacMillan in turquoise felt pen. Gives dancers names and timings (large)