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The file contains correspondence before and after the first performance of The Judas Tree. The material comprises

1. One handwritten fax by Kenneth MacMillan to The Evening Standard querying comments in the paper given in advance of the first night. On The Royal Ballet headed notepaper, undated
2. Typed letter from C. N. Henty-Dodd to Kenneth MacMillan, cancelling his tickets to the first night following the article in the Evening Standard. Suggesting The Judas Tree be replaced with the story of a mystic snow goose, 13 Mar 1992
3. Two page handwritten letter from The Rev.Dr.John Brothwood to Kenneth and Deborah MacMillan, thanking them for the tickets and giving a response to The Judas Tree, 20 Jan 1992. With a note by Jann Parry giving the date of Dr Brothwood's ordination in Southwark Cathedral and that Kenneth and Deborah attended
4. Good luck telegram from Garry Trinder, NAPAC, 16 Mar 1992
5. One page handwritten letter from Jock McFadyen to Kenneth MacMillan expressing his admiration for Kenneth MacMillan and the work and stating 'it's a privilege to have been involved with it', 19 Mar 1992
6. Handwritten card from Anthony Dowell to Kenneth MacMillan sending love and good wishes for a great success. Accompanied a 'brutal looking gift', 19 Mar 1992
7. One page handwritten letter from Cormac Rigby to Kenneth MacMillan congratulating him and giving an analysis of the ballet. On Church of The Most Sacred Heart headed notepaper. 20 Mar 1992
8. One page typed letter from June Williams, Composer Manager at Chester Music, London, praising the ballet. 2 Apr 1992
9. One handwritten card of congratulations from Chris and Lester. 3 Apr 1992
10. One photocopy of a handwritten letter from Kenneth MacMillan to Brian Elias thanking him for his letter and for his music for the ballet. 8 Apr 1992
11. One handwritten fax from Kenneth Williams (sic) to Ali Bongo thanking him for all his help on The Judas Tree. On Kenneth MacMillan & Partner headed notepaper. 8 Apr 1992

Kenneth MacMillan created the three-act ballet of Manon for The Royal Ballet which had its first performance at the Royal Opera House, London on 7 Mar 1974.

One file containing handwritten notes and typed scenario, and a later publication proof. The material comprises

1. Two pages of handwritten breakdown of the action of the ballet by Act and Scene, with timings, by Kenneth MacMillan, in blue biro with additions in pencil and black felt tip pen. On Royal Opera House headed notepaper
2. Three pages of handwritten breakdown of the action of the ballet by Act and Scene, with timings, in an unidentified hand. On lined paper
3. Two typed pages giving the scenario for the ballet, with handwritten annotations by Kenneth MacMillan in pencil and black felt tip pen, and break down with timings on the reverse of each page. The second page has a piece torn off but there is no missing information
4. Photocopy of two typed pages giving the scenario for the ballet, with slight differences from item 2
5. Six photocopied pages of proofs for notes to accompany the Covent Garden Video Production recording of Manon, with some queries and annotations (large)

One file of correspondence and telegrams relating to the first night of Manon, with one later letter. The material comprises

1. 20 greetings telegrams sending good luck for the first night of Manon, including from Frederick Ashton, Natalia Makarova, John Tooley, 'The Touring Trash', Michael Wood. One dated 6 Apr 1974, others undated or postmarked 7 Mar 1974
2. One greetings card from Romayne Grigorova, Ballet Mistress
3. One handwritten letter from Arnold Haskell to Kenneth MacMillan sending an early edition of Manon for good luck
4. One ticket for the Gala Premiere of Manon at the Royal Opera House, 7 Mar 1974
5. One photocopy of a letter from the Comptroller to Queen Elizabeth The Queen Mother to The Earl of Drogheda, Chairman of the Royal Opera House, sending Her Majesty's warmest congratulations. On Clarence House headed notepaper, 8 Mar 1974
6. One handwritten postcard from Lord Donaldson, member of the Board of the Royal Opera House, to Kenneth MacMillan sending best congratulations. 9 Mar 1974
7. One handwritten letter from John Sainsbury, sending congratulations and love from he and Anya, 18 Mar 1974, with envelope
8. One handwritten letter from Dicky [Richard Buckle], excusing his review, with envelope, 12 Mar 1974
9. One typed letter on Community Relations Commission letter head, from Mark Bonham Carter, member of the Board of the Royal Opera House, offering congratulations and suggestions for some cuts to the work, 18 Mar 1974
10. One handwritten airmail letter from John Lanchbery to Kenneth MacMillan, about Manon being performed in Stockholm and asking to talk about the musical re-arrangement Kenneth MacMillan would like done, 18 Apr 1980

One original design for the bedroom pas de deux from Manon, 1997, showing the bed, desk and chair, candlestick and drapes. Pencil, watercolour and collage mounted on backing board, with fabric samples glued to the board

Kenneth MacMillan created this three-act ballet for The Royal Ballet which received its first performance on 14 Feb 1978 at the Royal Opera House, London.

One file containing handwritten notes and typed breakdown of the ballet. The material comprises

1. Three typed pages of breakdown of the action of the ballet by Act and Scene, with timings, with annotations by Kenneth MacMillan in blue/black ink, black biro and purple felt tip pen. Each page signed by Kenneth MacMillan
2. Four handwritten pages of breakdown of the ballet by Act and Scene, with timings. By Kenneth MacMillan tbc in blue felt tip pen
3. Two handwritten pages of breakdown of the ballet by Act and Scene, with timings. By Kenneth MacMillan in black felt tip pen on Hotel Schlossgarten, Stuttgart, headed notepaper. The ink is bleeding a little
4. Five handwritten pages of breakdown of the ballet by Act and Scene, with timings. By Kenneth MacMillan in black biro with additions in blue felt tip pen
5. Photocopy of a two page handwritten letter from Kenneth MacMillan to Gillian Freeman enclosing the 'breakdown for the Mayerling file*, with some thoughts on the ballet. From the Clement Crisp Collection, found in a press cutting file. n.d.

Kenneth MacMillan asked Gillian Freeman to work with him on a scenario for the ballet. This file comprises

1. Five typed pages titled First Draft Outline for Mayerling, describing the ballet scene by scene.
2. One page typed additional note suggesting alterations to the Prologue and Epilogue
3. Four typed pages giving the Main and Subsidiary Characters, Character Notes and Points for Discussion. Dated by Kenneth MacMillan on the first page, 1978 in blue felt tip pen
4. 12 typed pages of Story outline and notes for a three act ballet by Gillian Freeman for Kenneth MacMillan, giving title page, Main and Subsidiary Characters, Character Notes, Notes, Drawing by Crown Prince Rudolf of a partridge-shooting and a Draft Outline. Dated by Kenneth MacMillan on the title page, 1978 in blue felt tip pen
5. Photocopy of item 4 with an additional page giving the Epilogue, and some handwritten additions to the text. From the Clement Crisp Collection, found in a file of press cuttings. N.d.
6. Article by Gillian Freeman for the LA Times (Los Angeles Times), 21 May 1978, Scripting a Ballet
7. Photocopy of the article by Gillian Freemen as published in the LA Times, Sunday 21 May 1978, now titled Mayerling : A Ballet of Love and Agony. Article written to coincide with the American premiere of Mayerling at the Shrine Auditorium, Los Angeles

The score for Mayerling was commissioned by Kenneth MacMillan from John/Jack Lanchbery, who used arrangements of music by Franz Liszt. This file comprises of

1. One handwritten airmail letter to Iris Law, Administrative Assistant at The Royal Ballet, about starting work on the score. 8 Nov 1976
2. One typed and four handwritten letters from Jack Lanchbery to Kenneth MacMillan, plus one telegram and one photocopy of a letter in the Royal Opera House Archives, discussing the score, its state of preparation, and changes and cuts requested by Kenneth MacMillan. The final letter discusses cuts for when the ballet tours to America and the request for a new song
3. One page of a handwritten list of Extracts Agreed, in an unidentified hand
4. One page of a handwritten letter from Bernadette [Greevy] to Kenneth MacMillan expressing regret that her song needs to be cut, with alternative suggestions, 28 Mar 1978

1. Four typed pages of Mayerling - Costume Breakdown, giving a list of characters for each scene, design number and names of dancers, from Morgan Rendell, Wardrobe Master, 20 Oct 1977. With handwritten annotations by Kenneth MacMillan in purple felt tip pen
2. Three typed lists of names of the dancers in specific scenes. On the reverse of one page are handwritten lists by Kenneth MacMillan comparing the different dances in Manon and Mayerling
3. One photocopy of a typed page of provisional casting
4. Nine photocopies of typed pages of programme notes by Gillian Freeman, John Lanchbery and Edward Thorpe, one with a typed covering note from Peter Brownlee to Kenneth MacMillan, on Royal Opera House headed notepaper, 23 Jan 1978
5. One typed page of the list of characters for the programme
6. Four photocopies of typed pages of the list of characters and the synopsis for the programme
7. Nine pages of the proof-copy of the programme, with some notes typed in red on Edward Thorpe's programme note
8. One carte de visite photograph of the Emperor Franz Josef
9. One page of a handwritten letter to John(Tooley) from Kenneth MacMillan complaining that the first night of Mayerling is to be a Gala performance in the presence of The Queen Mother. With a typed reply from Claus Moser, Chairman of the Royal Opera House and apologising for not consulting Kenneth MacMillan about this decision, 15 Dec 1977
10. One handwritten list by Kenneth MacMillan listing four of his ballets and the number of performances (?). On the reverse of a telegram from Stuttgart Ballet giving permission for Concerto to be performed by The Royal Ballet
11. One typed receipt from Nicholas Georgiadis acknowledging receipt of payment for design of projected alterations for the January 1980 revival of Mayerling, signed
12. One typed letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, to Kenneth MacMillan about proposed changes to the design which would make the ballet easier to tour. 3 Apr 1986