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The Deutsche Oper Berlin performed Kenneth MacMillan's one-act ballet Las Hermanas in 1968 using the original designs by Nicholas Georgiadis. The letters in this file, two to Kenneth MacMillan and one to Gert [Reinholm] give details of Nicholas Georgiadis's fees and instructions for the set, props and costumes. The majority of the letter to Gert [Reinholm] appears to be written by someone else with just the closing sentence and signature by Nicholas Georgiadis. Georgiadis concludes one of the letters to MacMillan, 'And by the way try and be less rude on the phone'.

One letter from George MacMillan to Deborah, undated from Great Yarmouth. Enclosing some family photographs (not with the letter) that he had promised Charlotte two and a half years ago, with apologies. Autograph in biro on one unlined sheet of writing paper.

The correspondence in this file is written while Eike Walcz is in a relationship with Lynn Seymour. It comprises

1. A handwritten note sending regards, undated
2. Postcard from Eike at the time of Kenneth MacMillan's heart attack in Munich, Germany, 1969, n.d.
3. A typed letter responding to a previous conversation, very critical of the life of a dancer and of Kenneth MacMillan, 29 Feb 1976
4. One page handwritten letter reporting that Lynn (Seymour) had a nervous breakdown and has been in hospital for five weeks. Asking if Kenneth could offer her any work that would give her something positive to focus on when she leaves the hospital, 18 Aug 1980

1. Autograph letter from Mrs E MacMillan to Kenneth MacMillan on his return to school. Mentions German bombing of Lowestoft and having to go into bomb shelter.
2. Autograph letter from Mrs W MacMillan to Kenneth MacMillan, with envelope. Looking forward to seeing Kenneth and enclosing money.
3. Autograph envelope for registered letter, from Mrs W MacMillan to Master Kenneth MacMillan, date stamped 1942

These letters and the notebook were sent from Clement Crisp to Kenneth MacMillan during the latter's time as Ballet Director at the Deutsche Oper Berlin. They were intended for private consumption so are humorous and contain language and opinions that could be considered upsetting and offensive. Within that context there are comments about Kenneth MacMillan's new production of The Sleeping Beauty, ballets Clement Crisp has seen in London including The Royal Ballet's new productions of Coppelia and Enigma Variations and Festival Ballet's new production of The Sleeping Beauty. He discusses Vergie Derman's wedding, the disposal of ballet sets at the Royal Opera House, dancers Noella Pontois, John Gilpin, Lynn Seymour and Georgina Parkinson and the Kirov Ballet.
There are photocopies of two letters from Kenneth MacMillan to Clement Crisp from 1967 with an accompanying letter from Clement Crisp to Jann Parry. The letters discuss The Sleeping Beauty, Vergie Derman, Lynn Seymour, Georgina Parkinson and works seen in Stuttgart

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

1. Undated letter to My Dear Ken, from Great Yarmouth, with details of dispute following the death of their sister Jean and her husband. Autograph in biro on one sheet of blue airmail paper
2. Undated letter to My Dear Deborah and Kenneth, envelope postmarked 3 Apr 1974, from Great Yarmouth. Pleased for Kenneth regarding his new ballet and forthcoming trip to America. Family news. Autograph in biro on four sheets of white lined paper, with envelope. Envelope has a note to Deborah from Mrs P, not related to contents of the letter
3. Undated letter to My Dear Ken and Deborah, postmarked 26 Dec 1979 from Singapore. Describing Betty's first trip on an airplane and thanking them for what they have done for her. Some family news. Autograph in biro on an aerogramme
4. Letter dated 1 Jan 1980 to My Dear Deborah and Kenneth, from Kula Belait, State of Brunei. Belated Christmas wishes and describing her time in Brunei. Some family news. Autograph in biro on two sheets of lined airmail paper, with envelope
5. Undated letter to My Dear Deborah and Kenneth, postmarked 1 Mar 1980 from State of Brunei. Describes her various ailments and her surroundings. Some family news. Autograph in biro on an aerogramme
6. Undated letter to My Dear Deb, Ken with envelope postmarked 10 Jun 1980 from Great Yarmouth. Apologising for phoning Deborah. Describes her poor health and the quiet season affecting brother George and sister Jean's businesses. Autograph in biro on one page of illustrated letter paper, with envelope

This file comprises handwritten letters from Aunt Jean, signed from her and Uncle Bill, with family news. She encloses some colour photographs of herself and Uncle Bill and of other members of the family. One four page letter expresses the family's pleasure at being at the Graduation Ceremony when Kenneth MacMillan received the Degree of Doctor Honoris Causa, and their delight at meeting Charlotte, 6 Dec [1975]

Benjamin Britten's score was commissioned by the Royal Opera House for John Cranko's ballet of The Prince of the Pagodas first performed in 1957. The Royal Opera House and Kenneth MacMillan approached Britten in 1976 about the possibility of a new version of the ballet but Britten was reluctant to agree to any cuts to the score. MacMillan used the full score for his version of The Prince of the Pagodas in 1989, and musical cuts were agreed with the Britten-Pears Archive for subsequent revivals. The material in this file comprises:

1. Photocopy of a typed letter from Benjamin Britten to Kenneth MacMillan asking if there was any news about his plans, 21 Jan 1976. The letter is unsigned but there is a compliments slip from the Britten-Pears Library with a handwritten covering note to Jann Parry confirming the sender, 19 Jun 2006
2. Four pages of a photocopied two-page fax from Anthony Russell-Roberts to Donald Mitchell re agreed changes to the score, 25 Sep 1992

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