The BBC made a film as part of the celebrations of the 50th anniversary of The Royal Ballet and the preparation and first night of Isadora was included in the programme. The material comprises

1. Four page typed Draft Rough Schedule (2) for BBC Filming: 50th Anniversary Film with details of Kenneth MacMillan's involvement
2. 19 page typed Filming Schedule for BBC Film Marking 50th Anniversary of The Royal Ballet. Pages i-iii give Names and Telephone Numbers, pages 1-16 give the full schedule. With a handwritten covering note from Colin Nears, Director, on BBC headed notepaper, who has marked the various sequences that involve Kenneth MacMillan, 9 Jan 1981. With envelope

This file contains correspondence and notes relating to the first performance of Isadora at the Royal Opera House in 1981 and subsequent performances in the UK and in the US. It comprises

1. Two photocopies and two typed memos between Royal Opera House departments confirming performers for Isadora in London and in America, and details of photocalls, 5 Nov 1980-22 Apr 1981
2. Four page handwritten letter from actress Jennifer Sternberg explaining to Kenneth MacMillan why she cannot cover the role of Isadora in London. 21 Aug 1981, with envelope
3. Handwritten card from Mary Morse-Boycott, actress at the Royal Opera House, to Kenneth MacMillan offering herself for a role in Isadora, with envelope,13 Feb [1981]
4. Handwritten letter from Peter Maxwell to Kenneth MacMillan giving details of his movements and whether he can be of use for the Tango, with envelope, 4 Mar 1981
5. Handwritten letter from Madeleine Lytton to Kenneth MacMillan giving her credentials as a teacher and performer of Isadora Duncan's dances and criticising Kenneth MacMillan's ballet. With black and white postcard of her in a Duncan solo, two page typed biography and two pages of excerpts of reviews of her work, 9 Jun [?]1981
6. Handwritten letter from Jonathan Frank to Kenneth MacMillan enclosing the unfinished play by George Bernard Shaw about Isadora Duncan, 'supposedly dictated by Shaw to Rosemary Brown in the after-life'. Four photocopied pages, n.d.
7. Correspondence between Kenneth MacMillan and Nesta MacDonald regarding a visit and possible use of new material in Isadora, 20 Jul 1979 - 20 Mar 1981
8. Typed letter from Wm.F.Cox and Kenneth MacMillan about the possible use of an alternative car in Isadora, with a colour photograph of the car, 27 May 1981
9. Typed letter from John Tooley, General Director of the Royal Opera House, to Kenneth MacMillan in response to John Percival's negative review of Isadora. Also discussing the forthcoming performances in America and proposed cuts to the ballet, 22 May 1982 (possibly 1981)
10. Photocopy of the cast-page from the Royal Opera House programme for Isadora with Kenneth MacMillan's handwritten inscription to Phyllis Adams, his first teacher
11. Handwritten letter from Merle Park to Kenneth MacMillan thanking him for the opportunity of Isadora and for his faith in her. Accompanied by a handwritten note about the watercolour painting by Edward Seago that Merle Park gave Kenneth MacMillan on the occasion of the world premiere of Isadora, 4May 1981
12. Correspondence about copyright clearances for the texts spoken during Isadora, 16 Feb 1981 - 2 Apr 1981
13. Typed copy of an interview with Kenneth MacMillan by Clement Crisp about Isadora, with a typed covering note on The R.A.D. Production Club letter headed paper to Dere Boss from Choo San GohGoh, n.d.
14. Memo from Iris Law to Kenneth MacMillan asking him to call Barry (Kay) in the Pattern Room at the Royal Opera House. Urgent. n.d.
15. Note to Kenneth MacMillan to say that Barry Wordsworth had to go to the BBC, n.d.
16. Handwritten note from Barry Kay to Kenneth Aadams, [Kenneth Aadams was the name Kenneth MacMillan used when he designed some ballets early in his career], 29 Sep 1980
17. Typed letter from Henry Fryer, Publications Editor at the Royal Opera House, enclosing the programme copy from Isadora and asking Kenneth MacMillan if he would like any changes or additions, 29 Mar 1983
18. Handwritten letter from Romayne Grigorova, Ballet Mistress for The Royal Opera, explaining why she had not been at the audition for Isadora, n.d., with envelope (with re Isadora 'extra' in blue biro by Jann Parry on front of envelope)

Andrzej Panufnik was asked by Kenneth MacMillan to compose the score for Isadora. Panufnik felt unable to do this and this file contains correspondence between Kenneth MacMillan and Andrzej Panufnik, and between Camilla Panufnik and Deborah MacMillan which discusses this. At this time, the ballet was provisionally titled Off to Paradise. The material comprises

1. Letter from Andrzej Panufnik thanking Kenneth MacMillan for asking him to compose a new score for his new full-length ballet and explaining why he cannot do it. Panufnik instead suggests using and adapting some of his existing music and details how this could work. Typed on two sides of one sheet of letter headed paper and signed, 31 Jan 1979
2. Draft handwritten reply from Kenneth MacMillan to Andrzej Panufnik, declining Panufnik's suggestion of using existing music and asking if he can return Gillian Freeman's notes. With many crossings out. Undated
3. Draft handwritten reply, not in Kenneth MacMillan's hand, expanding on the draft above. Undated
4. Handwritten letter from Andrzej Panufnik to Kenneth MacMillan thanking him for his kind reply and expressing his gratitude for having been asked to write a score for his new ballet. 7 Feb1979
5. Typed letter from Camilla Panufnik to Deborah MacMillan explaining why Andrzej would have difficulty working with the scenario, and how he feels everything that would be needed for the ballet could be found in existing music. Two typed pages, signed. 12 Feb 1979
6. Off to Paradise, Notes and First Draft for a ballet by Kenneth MacMillan, scenario by Gillian Freeman. 16 typed pages including title page, time line of Isadora Duncan's life, Main Characters, two pages of general notes and 10 pages of plot and quotations for voice over. September 1978
7. Two typed pages of Off to Paradise, Revised Opening and Notes. Undated

Gordon McVay published a book on Isadora and Esenin in 1980 which included previously unseen photographs. The correspondence concerns this, the use of quotations from the book in Kenneth MacMillan's Isadora, and the offer of tickets for the first night performance at the Royal Opera House. The letters comprise

1. Handwritten letter from Gordon McVay to Kenneth MacMillan informing him of his forthcoming book Isadora and Esenin and offering Kenneth MacMillan an advance copy. One page, 18 Apr 1980
2. Three handwritten letters from Kenneth MacMillan to Gordon McVay, all versions thanking Gordon McVay for the offer of a copy of his book which he will be delighted to receive, but explaining that it will be too late to include any new information in the ballet.
3. Handwritten letter from Gordon McVay, delighted to send Kenneth MacMillan a copy of his book. He describes corresponding with some of Isadora's Moscow pupils and a graphic description of Isadora's movements and gestures in the Marche Slave which he offers to sent to Kenneth MacMillan. One page, 15 May 1980

Richard Rodney Bennett was commissioned to write the score for Isadora. This file contains letters and notes from Richard Rodney Bennett to Kenneth MacMillan about the music and scenario, plus one list on proposed additional music in an unidentified hand. The material comprises

1. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the rewrites for Act I. One double sided page, undated
2. One handwritten page of Notes on proposed additional music with approximate timings and explanations about the music. In ink with some water damage, written as though from Richard Rodney Bennett but in an unidentified hand, undated
3. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the music for Isadora's dance after the death of her children, one page, undated
4. Five pages of handwritten Notes for K.M. Isadora Act I. Richard Rodney Bennett goes through scenes 2 - 8 describing the music and how it fits with the scenario. Undated
5. Typed letter from Richard Rodney Bennett in New York to Kenneth MacMillan. Describes going to see Grey Gardens, the film about Edith Bouvier Beale aunt and niece, and what a good scenario for a ballet their story would make. He reports working on Isadora and discusses the Polonaise and his concerns about not using a trained singer. Also he suggests some cuts to Gillian Freeman's scenario. Three pages, signed and undated. Envelope postmarked 21 Aug 1980

Kenneth MacMillan worked with Granada Television on several projects including broadcasts of his ballets. The material in this file includes:

1. A silver coloured folder containing three pages from the Granada Music Catalogue listing Gloria, Isadora and The Seven Deadly Sins, and five pages of Programme Information on a broadcast of two ballets by Frederick Ashton and the series of programmes Man and Music
2. The majority of correspondence in the file is from Denis Foreman and subjects include explaining the difficulties of having Kenneth MacMillan direct his own ballets for television 28 Feb 1980, Isadora, Let's Make a Ballet piece with Jack Gold 13 Aug 1981, the reasons for not recording Rite of Spring and the disappointment of not being able to capture Monica Mason's performance 27 Nov 1981, suggesting Kenneth MacMillan mount a 25 minute ballet on Sherlock Holmes using Margaret Dale's original choreography for The Great Detective 23 May 1984. There is a letter from Zanna Northam thanking Kenneth MacMillan for agreeing to be interviewed for a film on Christopher Gable, 19 Jan 1989
3. Press Release announcing Two Nights with Kenneth MacMillan, A Lot of Happiness and Isadora, broadcast on 15 and 16 Dec 1981
4. Two pages of photocopies of reviews of the broadcast of Gloria, 13 and 14 Nov 1982, with covering handwritten note from H [Helen McMurray]

Kenneth MacMillan created this three-act ballet for The Royal Ballet as part of the celebrations to commemorate the 50th anniversary of the founding of the Company. Isadora premiered at the Royal Opera House on 30 Apr 1981. Gillian Freeman prepared the scenario and draft script, Mary Miller selected passages of Isadora Duncan's words from her own writings, with further excerpts taken from publications on Isadora Duncan.

Material relates to the life and career of Isadora Duncan and to content for the programme for the first performance of the ballet at the Royal Opera House. It comprises:

1. Typed letter from Genevieve Oswald, Curator of the Dance Collection at the New York Public Library confirming that there is no known recording of the voice of Isadora Duncan. Signed and dated 6 Nov 1980
2. Index card with handwritten note: William Bolitho In one of his books an excellent piece on Isadora Duncan. Unsigned and undated
3. Four page catalogue for an exhibition tracing the history of the Duncan Family, held at the Archives for the Performing Arts, San Francisco, and opening on 26 May 1977 to commemorate the centenary of the birth of Isadora Duncan. Typed on blue paper, two pages folded, with illustrations
4. Programme for A Centenary Tribute to Raymond and Isadora Duncan, an exhibition by and about the Duncans, collected by Ligoa Duncan, a Presentation of the Ukranian Institute of America. The programme includes details of the opening night performance. Booklet of eight pages, endpapers of blue onion paper and card covers, illustrated with black and white photographs. With handwritten notes on the covers, some by Kenneth MacMillan
5. Photocopy of a press-cutting speculating on whether Kenneth MacMillan is about to create a new full-length ballet for Lynn Seymour who is returning to The Royal Ballet, Evening Standard 21 Nov 1979
6. Black and white photograph of Isadora Duncan dancing in Greece. Photograph courtesy of The Bancroft Library, University of California, undated
7. Four typed pages of an article, Isadora by Gillian Freeman, describing working on the scenario for the ballet with Kenneth MacMillan
8. Photocopy of the cast list for the programme at the Royal Opera House, with some corrections and notes from Janet Judd, Press Officer for The Royal Ballet, to Kenneth MacMillan
9. Photocopy of five typed pages of a programme note, Isadora: A Brief Life by Gillian Freeman, giving a brief biography of Isadora Duncan
10. Photocopy of three typed pages of a programme note, Isadora: Spirit of the Age? by Edward Thorpe, considering Isadora's character and art in relation to the artistic and social movements of the period
11. Photocopy of two typed pages of a programme note, Music Notes for Isadora, Richard Rodney Bennett, by Barry Wordsworth, with a covering note from Janet Judd, Press Officer for The Royal Ballet
12. Photocopy of seven typed pages of a programme note, Kenneth MacMillan Principal Choreographer of The Royal Ballet, by Mary Clarke, giving a biography of Kenneth MacMillan with details of his most significant ballets, longer than the note printed in the programme
13. Photocopy of a page from The Daily Mail 21 Apr 1913, reporting the death by drowning of Isadora's two children, inscribed on the reverse 'For Kenneth - with love - Mary [Miller] x' (large)

This file contains material relating to the creation of costumes, props, scenery and projections required for the production of Isadora and includes correspondence and lists from different production departments in the Royal Opera House, Covent Garden during the making of the ballet. It comprises

1. Two cast lists, one typed and one photocopied with surnames of the different dancers who will be performing each role. The typed list has annotations on the reverse by Kenneth MacMillan for casting. There are additional annotations on the front not all by Kenneth MacMillan. Undated
2. Five Costume Plot lists on large paper giving the Character, scene and costume required. Four comprise one plot each for Principals and for Company/Actors for Act I and Act II. Undated though the production date is given as April 1980. With envelope addressed to Kenneth MacMillan at the Operan Kungil Teatern, Stockholm, postmarked 5 Nov 1980. There is an additional costume plot for Act I which has some handwritten additions by Kenneth MacMillan
3. Typed costume list for the character Isadora, with details of what costume for each scene
4. Handwritten note from Kim Baker, Wardrobe Supervisor, on Royal Opera House headed notepaper, to Kenneth MacMillan enclosing photostats of the Extra Russian Peasants that Barry Kay, designer, would like. With three black and white photocopies attached. Undated
5. Three pages from a 1981 diary with a handwritten list of scenes with the extras/actors required for each scene. Four company names are included, in red ink. There is a note attached on a Royal Opera House compliment slip Still Need: 1 male extra
6. Photocopy of four typed pages of Points discussed between Mr MacMillan, Miss Baker and Miss Pullen, 8.8.1980. Gives a list of the Principal casting following cuts made, then a scene by scene list with characters appearing in each scene. From Janice Pullen, Wardrobe Director, Royal Opera House
7. Handwritten letter from Janice Pullen to Kenneth MacMillan, enclosing draft plots of Act I and II, following their meeting on 8th August (see item 2). Attached is a photocopy of a list of costumes required for each act
8. Four typed pages of a Resume of Principals, Company and Extras, as stated at the last meeting of 2.11.1980. There are annotations by Kenneth MacMillan giving the names of dancers for some roles, and further annotations by Kim Baker
9. Typed letter from Janice Pullen to Kenneth MacMillan, enclosing minutes of their last meeting. Attached are four typed pages recording the meeting held on 31.10.1980 in Sir John Tooley's office. The meeting discussed the additional costumes required due to a change in the set, and the notes include a break down of the number of characters appearing in each scene. There are annotations by Kenneth MacMillan
10. Photocopy of four pages of handwritten list of costume available and to be worn at the first dress rehearsal on 25th April. Costumes not available are highlighted in orange marker pen. Undated
11. Photocopy of 17 black and white photographs of the model set designed by Barry Kay, shown with changes between each scene. Undated
12. 13 pages, 12 photocopies and one of mounted images with Barry Kay's handwritten descriptions, of Projections and Effects. The 13 pages comprise a title page, two pages of description of themes, of the equipment required and a proposed working method, and ten pages of images for each scene requiring projections and a description and explanation. Undated
13. Seven pages of a handwritten list for Hand Props, detailing what props are required by which character for each scene. In blue biro and pencil, undated
14. Photocopy of four pages of a typed Preliminary Props List (3), 8 Aug 1981
15. Photocopy of four pages of a typed Preliminary Props List, as item 14 but with annotations
16. Inter Departmental Communication from Keith Gray, Ballet Stage Manager, to Kenneth MacMillan giving timings for each scene. Undated
17. Black and white photocopy of a design for character danced by Ross MacGibbon, with handwritten note by Kenneth MacMillan asking for change to the trousers (large)