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Material in this folder relates to the 1980 premiere of Gloria and the 1985/86 revival by The Royal Ballet, and the staging for Houston Ballet in 1989. The material comprises:

1. Catalogue for The Slade School of Fine Art Postgraduate Sculpture Show in 1979, featuring the work of Andrew (Andy) Klunder
2. Handwritten letter from Peter S[now] to Kenneth MacMillan apologising that he found the Stage Design Show closed but praising Andy Klunder, 2 Aug 1979
3. Envelope addressed to Kenneth MacMillan in Stuttgart, with many drawings for headdresses and hairstyles, in blue biro, undated
4. One handwritten letter from Richard Ralph thanking Kenneth MacMillan for the interview 17 Oct 1979, and two handwritten compliments slips from Richard Ralph to Kenneth MacMillan, attaching the proof of Ralph's article and a photocopy of the article in Vogue, 17 Jan 1980 and 14 Feb 1980
5. Sheet of paper with random notes on
6. Typed sheet of optional casting for Gloria, February 1985/86, London. With covering sheet with Gloria and some numbers in pencil
7. Handwritten letter from Andy Klunder to Kenneth MacMillan, enclosing photos of the set and describing what he has done to the set in Houston, 23 Apr 1989. The letter is written on the back of one of three pages of photocopied notes for a recording of Socrate by Erik Satie that Klunder has sent to MacMillan and which he thinks he will like (the recording is not in the file)
8. Greetings card signed by members of [Houston Ballet] thanking Sir Kenneth for the opportunity to appear in his ballet (large)

The material in this file includes two pages of Interview details with handwritten annotations by Kenneth MacMillan, one handwritten list of Lighting Notes, uncredited but likely by John B. Read, who designed the lighting for this production and for most of Kenneth MacMillan's ballets, n.d., production schedules and lists, including provisional props list

This folder contains correspondence relating to the proposed staging of Kingdom of Heaven and comprises correspondence between Kenneth MacMillan, his agents and lawyers, the Hampstead Theatre, London, Royal Shakespeare Company, Jonathan Pryce's agent, and the Tennessee Williams Estate.

Correspondence from actors, artists, composers, dancers and friends on a variety of personal and professional subjects

This file contains correspondence from actors including Claire Bloom and Jill Bennett, dancers including Merle Park and Ray Barra, Kenneth MacMillan's ballet teacher Phyllis Adams, and others. There is a handwritten letter from Michael Boulton and Margaret Hill at the time of Kenneth MacMillan's heart attack in Berlin in 1969, n.d.

Kenneth MacMillan resigned as Artistic Associate with American Ballet Theatre in 1989 but he continued to be involved in the staging of his ballets for the Company. The correspondence in this folder includes handwritten faxes from Kenneth MacMillan to Jane Herman, Director of American Ballet Theatre, about terms and conditions for mounting his works, correspondence between Kenneth MacMillan and Georgina Parkinson, and an invitation to a Gala brunch to celebrate the Golden Anniversary of American Ballet Theatre

The majority of material in this file consists of correspondence relating to Kenneth MacMillan granting the rights to The Australian Ballet to perform his ballet Manon, with many faxes between Kenneth and Deborah MacMillan, Simon Williams at Williams and Niblett Intellectual Property solicitors in Sydney, Australia, The Australian Ballet and Rubinstein Callingham, Polden and Gale, solicitors in London, UK. There are two letters from Maina Gielgud, Artistic Director of The Australian Ballet, initiating the discussion. Some of the faxes are annotated in hand by Kenneth and Deborah MacMillan and many of their replies consist of handwritten faxes. There is also a small amount of correspondence relating to the retirement of Noel Pelly as Administrator at The Australian Ballet, with handwritten tributes from Kenneth and Deborah MacMillan

The material in this file mostly relates to arrangements for the first performance of Kenneth MacMillan's Song of the Earth by The Australian Ballet in April 1987. It includes correspondence from Maina Gielgud and David Palmer, a draft agreement for Song of the Earth, a letter with fabric swatches for costumes, photographs of dancers not in MacMillan roles, a ground plan for the Sydney Opera House Opera Theatre, a souvenir programme including Song of the Earth with cast lists, and an issue of The Australian Ballet Newsletter

Kenneth MacMillan did not renew his contract as Ballet Director of the Deutsche Oper Berlin after 1969. The correspondence in this files includes letters from Gert Reinholm asking for a note to say that their relationship had nothing to do with his decision to leave, 1971-1978, a letter from Igor Kosak asking permission to dance the pas de deux from Concerto 12 Jan 1980, a letter from Gotz Friedrich asking whether Kenneth MacMillan will come and create new choreography for The Sleeping Beauty and a fax asking for permission to reuse the costumes and sets for a new production without MacMillan, 1985, a letter from Steven Scott with details of the fee payable for Anastasia, 1990, correspondence and a contract for Different Drummer, 1991, and a handwritten fax to Peter Schaufuss, Ballet Director, thanking him for releasing Leanne [Benjamin] to dance at a Gala, 1991

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 a letter from Alan King Associates about Anastasia, a bill from a doctor's surgery in Berlin, a letter from Roy Round asking for a contribution to his phone bill in London, a letter from Ballet Prague asking Kenneth MacMillan to view the Company in London, Peter Darrell asking for a dancer, Goran Gentele about the Royal Swedish Ballet staging Kenneth MacMillan's Romeo and Juliet, Good Luck telegrams for the first night of Swan Lake, Arno Jurging expressing regret that Kenneth MacMillan is leaving Berlin