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Colour photographs of the model sets designed by Nicholas Georgiadis, black and white photographs of Darcey Bussell in the rehearsal studio, one black and white photograph of Kenneth MacMillan with Nina Anianashvili in studio during rehearsals, 1990, and colour photographs of the first performance of The Prince of the Pagodas

Kenneth MacMillan created the three-act ballet The Prince of the Pagodas for The Royal Ballet which premiered on 7.12.1989 at the Royal Opera House, London. There are two files of Benesh Movement Notation score. This file contains

1. Three pages listing the dances for Acts I, II and III with the corresponding page number for the music score, in pencil
2. 21 pages of Benesh Movement Notation score, mostly for Princess Rose (Darcey Bussell), The Salamander/Prince (Jonathan Cope) and the Four Kings, in pencil

Kenneth MacMillan created the three-act ballet The Prince of the Pagodas for The Royal Ballet which premiered on 7.12.1989 at the Royal Opera House, London. There are two files of Benesh Movement Notation score. This file contains

1. Ring bound volume containing 22 pages with 5 additional pages loose, in pencil and black biro, dated Feb 1988 on front cover. The last page has a long note to Monica (Parker?) explaining difficulties with the score. The signature is not legible but possibly from Michele Braban
2. Ring bound volume containing four pages of photocopies of the score, 12 pages with two additional pages, in pencil
3. 31 original pages of score and 75 pages of photocopies of score, many with notes and queries to MP (Monica Parker), unsigned but possibly from Michele Braban. One handwritten note by Monica Parker titled Teddy -Mesmeric in pencil attached to one page of score, 8 pages of photocopies of the music score

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.

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.

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 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 comprises correspondence and agreements relating to recordings of Kenneth MacMillan's work made by the National Video Corporation. It includes

1. An agreement for the recording and distribution of performances of Triad by American Ballet Theatre, 1984
2. An idc from Janet Judd, Press Office for The Royal Ballet, with credits for Romeo and Juliet, 1985
3. A letter and agreement for the recording of the bedroom pas de deuxs from Manon and Romeo and Juliet for use in a programme on Natalia Makarova, 1985
4. Faxes asking to extend the agreement for Manon, 1991
5. Correspondence for the use of Manon and Romeo and Juliet in the programme Variations on an Enigma, 1990
6. Correspondence and agreements for the use of Manon and The Prince of the Pagodas, 1990 and 1991
7. Faxes re the dispute with Mme A Bessant-Massenet over the credits required for the music used for Manon
8. Double page colour sales brochure with details of Manon with colour photo of Anthony Dowell and Jennifer Penney, n.d.

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)

There are four handwritten lists, one original and three photocopies, giving details of the characters and the numbers of costumes required. There are 11 pages of colour copies of costume designs, several to a page. The material is stored in a cardboard folder which has some handwritten notes on one piece of cardboard (large)