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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)

This file contains correspondence and notes relating to the first performance of Isadora at the Royal Opera House in 1981 and subsequent performances in the UK and in the US. It comprises

1. Two photocopies and two typed memos between Royal Opera House departments confirming performers for Isadora in London and in America, and details of photocalls, 5 Nov 1980-22 Apr 1981
2. Four page handwritten letter from actress Jennifer Sternberg explaining to Kenneth MacMillan why she cannot cover the role of Isadora in London. 21 Aug 1981, with envelope
3. Handwritten card from Mary Morse-Boycott, actress at the Royal Opera House, to Kenneth MacMillan offering herself for a role in Isadora, with envelope,13 Feb [1981]
4. Handwritten letter from Peter Maxwell to Kenneth MacMillan giving details of his movements and whether he can be of use for the Tango, with envelope, 4 Mar 1981
5. Handwritten letter from Madeleine Lytton to Kenneth MacMillan giving her credentials as a teacher and performer of Isadora Duncan's dances and criticising Kenneth MacMillan's ballet. With black and white postcard of her in a Duncan solo, two page typed biography and two pages of excerpts of reviews of her work, 9 Jun [?]1981
6. Handwritten letter from Jonathan Frank to Kenneth MacMillan enclosing the unfinished play by George Bernard Shaw about Isadora Duncan, 'supposedly dictated by Shaw to Rosemary Brown in the after-life'. Four photocopied pages, n.d.
7. Correspondence between Kenneth MacMillan and Nesta MacDonald regarding a visit and possible use of new material in Isadora, 20 Jul 1979 - 20 Mar 1981
8. Typed letter from Wm.F.Cox and Kenneth MacMillan about the possible use of an alternative car in Isadora, with a colour photograph of the car, 27 May 1981
9. Typed letter from John Tooley, General Director of the Royal Opera House, to Kenneth MacMillan in response to John Percival's negative review of Isadora. Also discussing the forthcoming performances in America and proposed cuts to the ballet, 22 May 1982 (possibly 1981)
10. Photocopy of the cast-page from the Royal Opera House programme for Isadora with Kenneth MacMillan's handwritten inscription to Phyllis Adams, his first teacher
11. Handwritten letter from Merle Park to Kenneth MacMillan thanking him for the opportunity of Isadora and for his faith in her. Accompanied by a handwritten note about the watercolour painting by Edward Seago that Merle Park gave Kenneth MacMillan on the occasion of the world premiere of Isadora, 4May 1981
12. Correspondence about copyright clearances for the texts spoken during Isadora, 16 Feb 1981 - 2 Apr 1981
13. Typed copy of an interview with Kenneth MacMillan by Clement Crisp about Isadora, with a typed covering note on The R.A.D. Production Club letter headed paper to Dere Boss from Choo San GohGoh, n.d.
14. Memo from Iris Law to Kenneth MacMillan asking him to call Barry (Kay) in the Pattern Room at the Royal Opera House. Urgent. n.d.
15. Note to Kenneth MacMillan to say that Barry Wordsworth had to go to the BBC, n.d.
16. Handwritten note from Barry Kay to Kenneth Aadams, [Kenneth Aadams was the name Kenneth MacMillan used when he designed some ballets early in his career], 29 Sep 1980
17. Typed letter from Henry Fryer, Publications Editor at the Royal Opera House, enclosing the programme copy from Isadora and asking Kenneth MacMillan if he would like any changes or additions, 29 Mar 1983
18. Handwritten letter from Romayne Grigorova, Ballet Mistress for The Royal Opera, explaining why she had not been at the audition for Isadora, n.d., with envelope (with re Isadora 'extra' in blue biro by Jann Parry on front of envelope)

The BBC made a film as part of the celebrations of the 50th anniversary of The Royal Ballet and the preparation and first night of Isadora was included in the programme. The material comprises

1. Four page typed Draft Rough Schedule (2) for BBC Filming: 50th Anniversary Film with details of Kenneth MacMillan's involvement
2. 19 page typed Filming Schedule for BBC Film Marking 50th Anniversary of The Royal Ballet. Pages i-iii give Names and Telephone Numbers, pages 1-16 give the full schedule. With a handwritten covering note from Colin Nears, Director, on BBC headed notepaper, who has marked the various sequences that involve Kenneth MacMillan, 9 Jan 1981. With envelope

This file contains cards, telegrams and letters from friends, colleagues and members of the public wishing Kenneth MacMillan good luck for the first night of Isadora and congratulations on the success of the ballet. Including from Mikhail Baryshnikov, Jill Bennett, Humphrey Burton, John Copley, Monica Mason, Mary Miller, Merle Park, Galina Samsova and All the Actresses. One letter from a member of the public with negative response, 22 Jul 1983

Edward Thorpe, dance critic and writer and husband of Gillian Freeman who wrote the scenario for Isadora, was commissioned to write a book about The Making of Isadora. This file contains material relating to that publication and comprises

1. Typed letter from Edward Thorpe to Kenneth MacMillan outlining the permissions required from Kenneth MacMillan for his contributions to Edward Thorpe's forthcoming book, Isadora, undated. With note by Kenneth MacMillan on reverse
2. Typed letter from Evans Brothers Ltd, publishers, asking if Kenneth MacMillan would be willing to be interviewed by LBC and BBC Radio 2 about his forthcoming ballet and Edward Thorpe's book, 20 Oct 1981
3. Handwritten letter from Edward Thorpe to Kenneth MacMillan discussing details of the book, 17 May 1981
4. Handwritten note from Edward Thorpe to Kenneth MacMillan about a draft agreement
5. Typescript of the book

Kenneth MacMillan created this one act ballet for The Royal Ballet which received its first performance on 19 Mar 1992 at the Royal Opera House, London. The score was commissioned from Brian Elias with designs by Jock McFadyen

One file containing choreographic notes by Kenneth MacMillan, some on the typed scenario provided by Brian Elias. The material comprises

1. Small page of handwritten notes covering domestic issues and including Ring Jock McF(adyen), Ring Jock (McFadyen), Ted (Thorpe) and Gillian (Freeman), Note for Ninette (de Valois)
2. Small page of handwritten notes, some movements, some mood and characters. On the reverse of a medical prescription
3. Two pages of handwritten notes on letter headed paper, one page outlining the different movements and new timings, 17 Sep 1989 and 9 Feb 1990 pencil and blue felt tip pen, one page listing the names of the apostles with emotions and music and timings, in blue and black felt tip pen, 17 Sep 1989 and 19 Jan 1990
4. Two pages of lined paper with break down of timings written by Brian Elias, one page is a photocopy, both pages with annotations by Kenneth MacMillan. One dated 5 Sep 1990
5. One photocopied page with break down of the number of bars for each of two parts of the ballet, with indication of tempos and timings, by Brian Elias. With handwritten notes about the characters of Judas and Jesus by Kenneth MacMillan in black biro, 8 May 1990
6. One page with a handwritten list of the names of the apostles by Kenneth MacMillan in black felt tip pen. On the reverse of an unconnected fax
7. One page with typed scenario of the ballet by Brian Elias, divided into Sections with details of Duration, Bar Numbers and Narration. With 1st draft Oct 1990 and Total number of minutes handwritten by Brian Elias. With handwritten annotations by Kenneth MacMillan on front and reverse of the fax
8. One page with typed scenario of the ballet, as item 7 but without the hand-written additions by Brian Elias. With handwritten annotations by Kenneth MacMillan on front and reverse of the page, giving dancers names, descriptions of movements and actions, in pencil and black felt tip pen
9. One photocopied page of item 8, with additional handwritten annotations by Kenneth MacMillan giving dancers names, in pencil
10. Two pages of handwritten notes by Kenneth MacMillan, in black biro and black felt tip pen. On the reverse of typed rehearsal schedules for The Royal Ballet at Barons Court and at the Royal Opera House
11. One brown envelope opened out with handwritten notes by Kenneth MacMillan giving list of dancers names and breakdown of the parts of the ballet, in pencil. Envelope postmarked 7 Feb 1992
12. One A3 copy of the scenario of the ballet with no notes (large)

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

The majority of correspondence is from Brian Elias to Kenneth MacMillan with additional letters to Deborah MacMillan and personnel at the Royal Opera House, London. There is also some photocopied reference material that Brian Elias has forwarded to Kenneth MacMillan, and cassette tapes of two recordings of the score. The material comprises

1. Three photocopied pages about the Judas Tree plant, from The Independent on Sunday 13 May 1990, Plant Portrait: 16 Judas Tree by Mary Keen, from Planting a Bible Garden by F. Nigel Webber, published HMSO, London 1987, and Trees and Shrubs Throughout the Year by Blanche Henrey and W.J.Bean, published by Lindsay Drummond, London 1944
2. Two photocopies of one sheet of lined paper with a handwritten list by Brian Elias of the apostles with brief notes about their music, with timings. One page has additional notes
3. Photocopy of a two page list of the Apostles with details of their other names, feast day, symbol in art and manner of death, the original handwritten by Brian Elias.
4. Handwritten letter from Brian Elias to Kenneth MacMillan, thanking him for tickets for Anastasia and looking forward to hearing from him 'whenever you wish to start'. With envelope. 27 Jun 1989
5. Handwritten postcard from Brian Elias to Kenneth MacMillan, thanking him for tickets for La Bayadere which he 'learned a tremendous amount from watching....What dire music though'. Elias intends to start writing by the middle of this month. The card is dated 2nd October, probably 1989
6. Handwritten compliments slip from Brian Elias to Kenneth MacMillan sending 16 photocopies of 32 pages from an uncredited publication, with chapters on The Myth of the Redemption and The New World. The first page is inscribed Kenneth in Elias's handwriting. 10 May 1990
7. Handwritten compliments slip from Brian Elias to Kenneth MacMillan sending 15 photocopies of 30 pages from two uncredited religious dictionaries. The first has the entry for Apostle highlighted in yellow marker pen, the second the names of different apostles underlined in yellow marker pen. 2 Feb 1990
8. Six pages of photocopied entries from an uncredited religious dictionary with entries on the apostles
9. Typed letter from Brian Elias to Anthony Russell-Roberts, Administrative Director of The Royal Ballet discussing the date for the new ballet, choice of conductor, and costs of preparing the tape of the first half of the score. Also gives detail of progress of the score and dates when piano and orchestral scores should be completed. 21 Jul 1990
10. Handwritten letter from Brian Elias to Kenneth MacMillan enclosing the tape made the previous week. The letter includes a brief breakdown of the structure with a more detailed breakdown to follow.
11. Cassette tape labelled Brian Elias New Ballet Score - 19' to end of Variation 9, 2 piano recording made 4 Jul 1990 with Andrew Ball and Susan Bradshaw
12. Cassette tape labelled Brian Elias New Ballet for Kenneth MacMillan Piano Sketch 2 Pianos: Andrew Ball and Susan Bradshaw (rec. 4 Jul 1990 and 4 Oct 1990), ca.38'20"
13. One photocopy of the scenario for The Judas Tree prepared by Brian Elias, on A3 paper. A further copy in RAD/2/MAC/3/1/20/1 is titled 1st draft Oct 1990
14. Handwritten compliments slip from Brian Elias to Kenneth MacMillan, enclosing a 'rough' scenario as promised. A4 version of item 13. 9 Oct 1990
15. Handwritten letter form Brian Elias to Kenneth MacMillan asking him to telephone to clarify a couple of details: is the title definitely The Judas Tree, and agreeing to silence and darkness when the curtain rises and at what point the lights go on. Elias wants to mark the last two timings in the score. 1 Oct 1990
16. Typed letter from Brian Elias to Bram Gay, Orchestra Director at the Royal Opera House, London, writing with details of the orchestra for Kenneth MacMillan's new ballet. 19 Oct 1990
17. Six typed pages of The Judas Tree 'Scenario' - second draft, with timings. 4 Apr 1991
18. Handwritten postcard from Brian Elias to Kenneth MacMillan, enclosing a copy of a book on the Gnostic Gospels (not included). Suggesting they meet soon to listen to the whole of the piano tape together. 7 May 1991
19. Handwritten letter from Brian Elias to Kenneth and Deborah MacMillan thanking them for their note and their response to his dedication of the music to Kenneth and the piece to both of them. Thanking them also for the faith they showed in him and for their support and friendship. 11 Jul 1991
20. Handwritten postcard from Brian Elias to Kenneth MacMillan, still working hard on the rape. With envelope postmarked 4 Feb 1992
21. Handwritten postcard from Brian Elias to Deborah and Kenneth MacMillan, thanking them for a lovely evening and congratulations on finishing The Judas Tree. 1st March, probably 1992
22. Handwritten postcard from Brian Elias to Kenneth MacMillan, thinking of him and hoping that all is going well. 4th Feb, probably 1992
23. Photocopy of two handwritten pages, giving the outline of the work, the music sections with timings, development of the 'plot', and a timeline. Undated but possibly after the premiere, March 1992
24. Typed letter from Brian Elias to Kenneth MacMillan, thanking him for the opportunity of working with him on The Judas Tree which has been one of the most rewarding experiences of his life. The greatest reward has been MacMillan's creative response to the score. With envelope. 31 Mar 1992
25. Copy of a typed letter from Brian Elias to James Rushton, Managing Director, Chester Music, formally stating his wish that his music for The Judas Tree should not be made available to any other choreographer in any form. He is happy for the music to be performed without choreography as a concert piece. Elias also asks if plans are going ahead to publish the score, and if there is any progress re the CD recording. With a covering handwritten note to Deborah MacMillan. 7 Apr 1997

Correspondence and typed material comprising

1. One typed letter from Tirzah Lowen about a book proposal on 'theatre beyond words' in which she would like to include the process of making a production. 8 Mar 1991. With Kenneth MacMillan's typed reply explaining that he is nervous to have anyone in the room initially but maybe she could attend some later rehearsals, 12 Jul 1991
2. Two typed pages of a review of The Judas Tree by Eric Bolton
3. Copy of a typed letter from James Rushton, Managing Director of Chester Music, to Anthony Russell-Roberts, Administrative Director of The Royal Ballet expressing his disappointment at the postponement of a revival of The Judas Tree and the effect this would have on the possibility of filming the ballet, 31 Mar 1995
4. One typed letter from the External Lectures Committee of the British Psycho-Analytical Society, London, to Deborah MacMillan thanking her for Irek Mukhamedov's schedule and the possibility of a talk when he is next appearing in The Judas Tree, 25 Jul 1996
5. Two copies of a typed note by Deborah MacMillan describing the genesis of the ballet and its content. With a hand-written note to Hywel David at the Royal Opera House describing her journey to the East End. Undated