Handwritten aerogramme from Sydney, Australia to Kenneth and Deborah MacMillan, complaining of the difficulties of the season but reporting that 'Romeo (and Juliet) is certainly the best thing on the bill'. Thanks them for the first night telegram. Praises Ivan Nagy both as dancer and person, reports that she makes her delayed debut as Swanhilda, and mentions forthcoming visit from Dan Hogg, 31.8.1972

This file contains correspondence between Kenneth and Deborah MacMillan, their Agents International Creative Management Inc., specialist legal advisers and American Ballet Theatre covering the terms of Kenneth MacMillan's appointment as Artistic Associate, for the performance of some of his ballets, and payment of royalties. There is correspondence from a firm of solicitors advising re US Withholding Tax, and from the Consul of the United States confirming Kenneth MacMillan's right to employment in the US

Letter from Neil S Fleckman of Fleckman & Co. Management and Production, enclosing cheque for performances of Romeo and Juliet pas de deux by Alessandra Ferri and Friends during a tour of outdoor festivals in Italy, summer 1988, 15.11.1988

In 1992 Kenneth MacMillan was in discussion with Jane P. Hermann about staging [Romeo and Juliet at the Arena di Verona]. The discussions continued with Deborah MacMillan, following Kenneth MacMillan's death in November 1992. There are three typed faxes from Jane P. Hermann, one handwritten reply from Kenneth MacMillan and three handwritten replies from Deborah MacMillan, 21 Oct 1992 - 5 Jan 1993 and n.d.

Second draft of Romeo and Juliet's Ballet-Play written by Peter Brinson and produced by Alexander Grant for Ballet for All, an educational initiative of The Royal Ballet. The title page has some handwritten instructions in biro. The draft is dated 27 Jun 1975

This file contains

1. Faxes from Birmingham Royal Ballet (BRB) Press Office re interviews about The Burrow, Sep/Oct 1991
2. Faxes between Kenneth MacMillan and BRB about the first performance of Romeo and Juliet by BRB, Feb-Apr 1992
3. Correspondence and contracts from BRB for The Burrow and Romeo and Juliet, Oct 1991-May 1992

Clement Crisp was a dance historian, author and critic, as well as Librarian and Archivist at the Royal Academy of Dance for many years. He was a good friend and supporter of the work of Kenneth MacMillan. The material in this file includes some writings on Kenneth MacMillan by Clement Crisp, but mostly comprises postcards, notes and letters that are humorous, often at the expense of people they both know, and could be considered offensive. The material comprises

1. Handmade card signed by Peter (Hollamby) and Clement (Crisp), undated. Peter Hollamby was Clement Crisp's life partner.
2. Carbon copy of two typed pages of a mock biography of Kenneth MacMillan, undated
3. Five postcards, one typed and two handwritten notes, including invitations and humorous comments about dancers and ballets seen, 1969-1992 and undated
4. Photocopy of an article from The Stage, surrounded by humorous comments by Clement Crisp in red ink, undated
5. Typed letter on The Biltmore Hotel, Los Angeles headed notepaper, gossipy letter, August 18, no year
6. Typed letter praising the work of Kenneth MacMillan, having seen Requiem, Song of the Earth and My Brother, My Sisters in quick succession, 7.5.1978
7. Carbon copy of four typed pages of biography of Kenneth MacMillan by Clement Crisp, describing his work from Danses Concertantes in 1955 to Images of Love in 1964, with corrections in blue biro, undated
8. 10 typed pages, Kenneth MacMillan and His Ballets by Clement Crisp, the first seven giving a brief biography and a review of his ballets up to Romeo and Juliet, three final pages on Romeo and Juliet, with corrections in black biro, copyright Clement Crisp, undated
9. Carbon copy of three typed pages, Orpheus: Programme Note for Covent Garden by Clement Crisp, with handwritten corrections in blue biro, with typed note to Kenneth MacMillan 'For your comments', undated but Orpheus had its first performance in 1982
10. Carbon copy of three typed pages, MacMillan's Orpheus by Clement Crisp, taken from an interview with Kenneth MacMillan, with corrections in blue ink, with typed note to Kenneth MacMillan 'for your approval', 15.4.1982
11. One page typed letter enclosing a ballet scenario (not included) by Walter Gruber for I Promessi Sposi, undated but 1979 from the contents of the letter
12. Page from The Illustrated London News, 18.5.1912, with an illustration of forcible feeding of women suffragist prisoner, with additions by Clement Crisp in blue biro
13. Page from a press cutting album with photos of dancers, with additional captions by Clement Crisp in blue biro, undated
14. One photocopy of a mock x-ray, dated 1.7.1974

This file includes correspondence between Kenneth and Deborah MacMillan and Anne Woolliams, Peggy van Praagh and Robert Helpmann, impresarios Lilian and Victor Hochauser and Sol Hurok and the MacMillans' agent, concerning requests by The Australian Ballet to perform some of Kenneth MacMillan's ballets. There is a photocopy of the manuscript draft of an article by Margaret Dale about Kenneth MacMillan rehearsing two dancers from The Australian in the pas de deux from Concerto to be performed in Manila.

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