Showing 1393 results

Six page handwritten letter from Chicago to Kenneth talking about staging The Wild Boy in Chicago without Natasha (Natalia Makarova) who will perform it in San Francisco. Lisa Houlton will perform instead, rather than Kenneth's preferred choice of Leslie (Browne). She reports of much sickness amongst the male dancers with Ross Stretton and Brian Adams being given opportunities. Also difficulties with management. She is teaching over the summer for Petrus Bosman at the University of Champagne Illinois and for Stanley Holden in Los Angeles. Mentions her family and their decision to sell their home in London and buy in Manhattan, 4.2.1982

Three page handwritten letter from California to Kenneth and Deborah complaining that she hasn't heard from them, describing the difficulties of her relationship with management but improving relationship with the dancers. Mentions Lucia (Chase), Anthony (Dowell), plans for Chicago and for a trip back to London, with envelope, 7.2.1979

The letter confirms raised salary offer and other details in connection with Bedells' proposed engagement to teach at the school in Havana (see RAD/2/BED/5/1/27)

Six page handwritten letter to Kenneth MacMillan complaining about his verbal attack on her and pointing out occasions when she has felt personally and professionally slighted by him and his actions. Mentions Nora (Kaye), with envelope, 11.6.1980

Four page handwritten letter to Kenneth and Deborah MacMillan, titled ON STRIKE! DATE ?! discussing the strike by the dancers of American Ballet Theatre and how difficult it all is. She has two private students so has some money coming in. Talks about her and Roy (Round's) plans for the loft in Manhattan and about their son, Tobias, undated but envelope postmarked 22.9.1982

Four page, double-sided, handwritten letter to Kenneth MacMillan en route to America, on TWA In Flight letterheaded paper. Confessing she has sent a farewell telegram to Ivan Nagy on Kenneth's behalf and on instruction from American Ballet Theatre press office. Feeling nervous about her new role and how she will be regarded by the young dancers. Reports on her time in Greece with The Royal Ballet, Anthony Dowell's behaviour, Vergie (Derman), David Wall and Alfreda (Thorogood) are mentioned. She and Roy (Round, her husband) spent a weekend with Alastair (9th Marquess of Anglesey) and Doreen (Wells). Nora (Kaye) is considering Doreen for the young Karsavina in the Nijinsky movie, with envelope, 23.8.1978

One page, double-sided, handwritten letter to Kenneth MacMillan asking if, now that her role in Manon has been eliminated, she could learn Monica (Mason's) or, failing that, Vergie (Derman's) or Laura (Connor's). She would also like to learn Monica Mason's role in Elite Syncopations, with envelope, 4.4.1975

Correspondence from Jean-Yves Esquerre, Director of the Ballets de Monte-Carlo, and Kenneth MacMillan requesting that Kenneth MacMillan stage Romeo and Juliet for the Company. MacMillan explains that the ballet is too large for the Company and that there is insufficient time to reduce the work, 7 - 12 Jun 1991

1. One printed copy of the piano reduction music score for Le Roi des gourmets (Divertimento Coreografico) by Gioacchino Rossini, arranged and orchestrated by Cesare Brero. Published and copyright by G. Ricordi and co., Italy, 1957
2. One carbon copy of a form from G. Ricordi & Co., Milan, Italy, confirming despatch of Le Roi de Gourmets to the Teatro Opera di Roma, for Mr. Ashton 'di Chelsea - Londra', 23.7.1963
3. Typed letter from G.C. Brero in Rome, possibly to Frederick Ashton, hoping to have the pleasure of welcoming him soon to Rome, where he will also see Mademoiselle De Nobili and be able to work with her. Signed Cesare Brero, 16.3.1964

Kenneth MacMillan created a new version of his 1960 ballet Le Baiser de la fee for The Royal Ballet which premiered on 8 May 1986 at the Royal Opera House, Covent Garden. The material comprises:

1. Cast list handwritten by Kenneth MacMillan in blue felt pen, giving names of roles with dancers, some alternative names added in pencil. Also gives the number of costumes for each role
2. Typed list of dancers in the 1985/86 Season at The Royal Ballet, listed under Principals, Soloists, Coryphees and Artists, with pencil markings by Kenneth MacMillan
3. Typed cast list for Baiser de la fee with alternative casts
4. Handwritten letter from Norman Morrice, Artistic Director of The Royal Ballet, to Kenneth MacMillan, wishing him 'everything good for tonight's programme and special success for the new Baiser!' 8 May 1986
5. Handwritten good luck letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, praising his 'very imaginative choice of designer', 8 May 1986
6. Good luck telegram from Misha [Mikhail Baryshnikov] and Charles [Dillingham], New York, 7 May 1986
7. Good luck telegram from Charles Dillingham, New York, 7 May 1986, 'Best Wishes From All of Us for a Great Opening Night. Come Home Soon.'
8. Double page spread from the programme for the first performance of this version by The Royal Ballet at the Royal Opera House of Le Baiser de la fee, on a triple bill of MacMillan ballets. Includes quotations from works by G.K.Chesterton on Fairy Tales
9. Page torn from the programme with notes by Nicholas Dromgoole on Le Baiser de la fee, hit or myth? On the reverse are programme notes by Clement Crisp on Anastasia and Concerto, the two other MacMillan works on the triple bill
10. Three colour and 12 black and white copies of costume designs with the character and dancers' names
11. Three pages each with two polaroid photographs of the Model Set and handwritten details and instructions
12. One page with two colour schemes attached, with handwritten notes