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Kenneth MacMillan created the pas de deux Pavane for The Royal Ballet which premiered on 13 Jan 1973 at the Royal Opera House, London. The material comprises

1. One handwritten note to Kenneth MacMillan from Anthony Crickmay, photographer, thanking him for Pavane. Undated
2. One typed letter from John Percival, dance critic at The Times, on TheTimes Newspapers Ltd letterheaded notepaper, to Kenneth MacMillan apologising for the dismissive reference to Pavane in Saturday's paper and explaining that his review had been cut. With envelope. 17 Feb 1980

Kenneth MacMillan created the one-act ballet Playground for Sadler's Wells Royal Ballet which premiered on 24.8.1979 in the Big Top at the Edinburgh International Festival, Edinburgh, Scotland. The material comprises:

1. Carbon copies of two sheets giving provisional casting, 30.4.1979 P.Wright, 3.5.1979 Kenneth MacMillan
2. Handwritten good luck note from John Drummond, Festival Director, to Kenneth MacMillan, undated
   3.Two good luck telegrams, from Norman (Morrice) and Michael Oliver to Kenneth MacMillan, for first performance at Sadler's Wells Theatre, London, 5.9.1979
3. One typed letter from Mrs E.Swift to Kenneth MacMillan complaining about the ballet, 5.9.1979, and a handwritten (draft) reply from Kenneth MacMillan to Mrs Swift, 23.9.1979

Kenneth MacMillan created the one-act ballet The Poltroon for the Royal Ballet New Group which premiered on 12.11.1972 at Sadler's Wells Theatre, London. The material comprises one handwritten letter from 'Madam' to Kenneth MacMillan with a critique of the choreography, undated. With envelope postmarked 12.11.1972. ((Poltroon) 1972 written by Jann Parry of the front of the envelope in blue biro)

Kenneth MacMillan created the three-act ballet The Prince of the Pagodas for The Royal Ballet which received its premiere on 7.12.1989 at the Royal Opera House. The material in these files covers Kenneth MacMillan's collaboration with Colin Thurbron on the scenario, correspondence with the Britten-Pears Archive over the use of the score, administrative and technical correspondence from the Royal Opera House and The Royal Ballet. The ballet was part of the celebrations by The Royal Ballet for Kenneth MacMillan's 60th birthday. Kenneth MacMillan dedicated the ballet to Margot Fonteyn.

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

Kenneth MacMillan supplied Colin Thubron with a recording of Benjamin Britten's The Prince of the Pagodas and the Royal Opera House commissioned Thubron to work with MacMillan on a scenario for the ballet. Thubron sent MacMillan a detailed breakdown of the action, charting it against the version by John Cranko. Material in this file charts the development of the scenario and Kenneth MacMillan's responses to Thubron's suggestions. The material comprises:

1. Sleeve notes for the first recording of The Prince of the Pagodas, conducted by Benjamin Britten and with a black and white photograph of The Royal Ballet in the Cranko version, 1957
2. Photocopy of the sleeve notes above, together with a photocopy of the programme for the first night of John Cranko's production of The Prince of the Pagodas
3. Photocopy of the action of the ballet by Colin Thubron
4. Four typed copies and one photocopy of detailed plotting typed by Colin Thubron, giving the time from the score, the stage action in the Cranko version, the music detailing the instruments and style/emotion, and suggestions for or the stage action in the MacMillan version, with slight variations between some. Two with typed covering letters from Colin Thubron to Kenneth MacMillan, 21 Sep 1987 and 30 Jun 1988 and additional notes.
5. Three handwritten letters from Kenneth MacMillan to Colin Thubron, drafts and copy (?) of a final version, explaining that he doesn't need Thubron to fill every section of the music with an idea and how he works in the studio, with Thubron's handwritten reply, with envelope, 7 Jul 1988
6. One handwritten postcard from Colin Thubron to Kenneth MacMillan from China, 12 Sep 1988
7. Two page typed letter from Colin Thubron to Kenneth MacMillan with extra Pagodas thoughts, 8 Apr 1989
8. Two typed copies of the synopsis, with covering notes from Colin Thubron to Kenneth MacMillan, undated and 21 Jun 1989
9. One handwritten letter from Kenneth MacMillan to Colin Thubron thanking him for the new recording and suggesting some cuts and changes to the order of dances in Act III, with two handwritten lists of Proposed Change of Order Act III, a handwritten reply from Colin Thubron to Kenneth MacMillan responding to his suggestions and making alternative proposals, 8 Aug 1989, and a photocopy of a handwritten reply from MacMillan confirming the changes, 17 Sep 1989
10. One typed and one handwritten letter from Colin Thubron to Kenneth MacMillan suggesting some changes post-production, 9 Dec 1989 and 4 Jan 1990, and a photocopy of a handwritten reply from MacMillan expressing pleasure that Thubron liked Pagodas, 22 Jan 1990

This file contains notes and lists relating to the creation of the ballet. The material comprises:

1. Two pages of handwritten notes, one with indications of relationships and emotions between principal characters, one with notes re action of the ballet. By Kenneth MacMillan - tbc. Undated
2. Photocopies of three pages comprising the Index for the music score, giving the page number and the characters at each page, with annotations in pencil by Kenneth MacMillan, some entries marked with yellow highlighter. Undated
3. One list handwritten by Kenneth MacMillan giving the number of costumes for each character. Undated
4. Four long fax pages, one typed cast breakdown annotated in felt tip pen and pencil by Kenneth MacMillan, three handwritten by Kenneth MacMillan giving dancers name, with annotations in pencil. Four printed copies taken from scans of these fax pages
5. Two copies of the record sleeve notes that accompanied the Decca recording of The Prince of the Pagodas, with a black and white photograph of the John Cranko version on the cover and music notes by Donald Mitchell. One has some markings in red felt pen by Kenneth MacMillan. (Large)

The programme for the first night was dedicated by Kenneth MacMillan to Dame Margot Fonteyn, Prima Ballerina Assoluta of The Royal Ballet. The material in this file comprises:

1. Proof copies of four pages of the first night programme giving the production credits and cast list and the synopsis and a programme note by Colin Thubron
2. Three handwritten versions of a programme note by Kenneth MacMillan describing how he progressed from watching The Sleeping Beauty in the wings at the Royal Opera House in 1946 with John Cranko to creating The Prince of the Pagodas, and the similarities between the works. A photocopied version has amendments in red ink and there is a final typed version with covering handwritten note from 'Aunt Louise'. Undated

The material in this file covers correspondence with Royal Opera House departments and external organisations and individuals. It comprises:

1. One typed letter from Roald Dahl to Kenneth MacMillan responding to his invitation to assist with the scenario of The Prince of the Pagodas but explaining why he is unlikely to be able to help. 2.11.1983
2. Two typed letters, one carbon copy of a letter and one compliments slip, with regard to the proposal that David Atherton should conduct the ballet, 28.12.1983, 23.1.1984, 3.2.1984
3. Royal Opera House compliments slip with David Hockney's address and contact details
4. Six typed letters from Anthony Russell-Roberts, Administrative Director of The Royal Ballet, to Kenneth MacMillan about schedules, non-availability of Oliver Knussen to conduct The Prince of the Pagodas, and possibility of television projects. With pages of rehearsal schedules. 5.7.1984-30.5.1989
5. Two typed pages of a Memorandum from Amanda Jones, Ballet Press Officer for The Royal Ballet, giving details of press nights, 18.10.1989
6. One handwritten note from Nicholas Georgiadis forwarding photocopies of two designs. Undated
7. One typed and one photocopy of a typed Interdepartmental Communication from Geoffrey Wheel, Production Manager, re banners for The Prince of the Pagodas, 14.7.1989 and 17.7.1989
8. Photocopies of two letters to Colin Thubron re arrangements for his scenario, with typed covering letter to Kenneth MacMillan, and a compliments slip. 26.2.1987 and 30.1.1990

The first performance of The Prince of the Pagodas formed part of the celebrations for Kenneth MacMillan's 60th birthday. The cards and telegrams celebrate both the first night of the ballet and his birthday, with some also being Christmas cards. The material comprises:

1. Ten letters, including handwritten letters from Margot Fonteyn, thanking Kenneth MacMillan for dedicating the ballet to her, from Anthony Dowell, Zoe Dominic, and Angela and Nicholas Serota, Director of the Tate Gallery, typed letters from John Sainsbury, one congratulating MacMillan on the ballet, the other enclosing a copy of a letter from Edward, Duke of Kent saying how much he enjoyed the ballet
2. Three Christmas cards, from the students at White Lodge who appeared as pages, from Janet and Leo Kersley, and Colin Nears
3. Six postcards including one handwritten by Anya Sainsbury, wishing Kenneth a happy birthday and 'congratulations on your wonderful 'Pagodas'. The card includes a reference to a 'head' by Julian Sainsbury, presumably a birthday gift to Kenneth MacMillan from John and Anya Sainsbury
4. Four good luck telegrams from La Scala, National Ballet of Canada, the Hongkong Ballet, and Elaine McDonald (Scottish Ballet)
5. One invitation to the supper following the first performance of The Prince of the Pagodas, with handwritten list of names and a note from Kenneth MacMillan on the reverse.