Three letters from Georgina Parkinson to Deborah MacMillan from America, comprising

1. Two page typed letter from New York talking about the pressure of working on Romeo (and Juliet). Julio Bocca is the only new Romeo and he is good, musical and fast to learn. She reports that Kenneth seems well and has just left for Toronto. She goes to Toronto for four days and then details her movements over the summer, 17.4.1988
2. Two page typed letter 'Over a Period of a Few Frantic Days', critical of Mikhail Baryshnikov and the way he is treating Kenneth. Georgina is off to Korea soon, resentful that she can't enjoy her work at ABT, undated
3. Two page typed letter, 'Friday Night', reporting on the toxic atmosphere at ABT and how badly Mikhail Baryshnikov is behaving, undated

Five page handwritten letter from Osaka, Japan to Kenneth and Deborah MacMillan reporting on the American Ballet Theatre tour to Japan, and looking forward to working with Kenneth on The Sleeping Beauty and Romeo and Juliet when back in New York, with envelope, 25.9.1987

Nine page handwritten letter from Miami Beach, Florida to Kenneth and Deborah MacMillan where Georgina is teaching for three weeks at a Summer School just outside of Miami, run by an Argentinian dancer who had been a member of (Alicia) Alonso's company in Cuba. Mentions Mikhail Baryshnikov spraining his ankle at the last matinee of the season, giving a mumbled end of season speech to the Company in which he mentioned the forthcoming association with Kenneth MacMillan but not the Company acquiring Romeo and Juliet which is, however, common knowledge amongst the dancers. Also discusses the performances of Triad. Talks about her family and plans for the rest of the summer, undated but with envelope postmarked 23.6.1984

Kenneth MacMillan first met playwright John Osborne in 1958 when he was invited to create the choreography for Osborne's musical The World of Paul Slickey. The correspondence in this file comprises

1. Two handwritten letters from John Osborne to Kenneth MacMillan explaining why the play he was working on for him has altered, both undated
2. Typed compliments slip on John Osborne headed note paper, signed John, 12.12.1958
3. Handwritten letter from John Osborne praising Romeo and Juliet and inviting Kenneth to supper on his return from Stuttgart. Also mentions a play that requires some choreography that he would like Kenneth's help with, on Woodfall Film Productions Ltd headed notepaper, 4.3.1965
4. Typed note from John Osborne to Deborah and Kenneth thanking them for remembering 'our little opening', on John Osborne headed notepaper, 27.2.1976
5. Typed letter from John Osborne to Kenneth MacMillan asking if he could improve the dance elements in his new play Dejavu. Also gives details of his poor health, with envelope, 18.5.1992
6. Handwritten copy of Kenneth MacMillan's reply to the above letter, explaining why he cannot help and sympathising with his health issues, in pencil, undated
7. Handwritten letter in reply to above expressing his sorry that Kenneth wasn't able to see Dejavu but pleased to hear he is doing Carousel. Explains some of the difficulties he is facing but happy to be in contact after so long, 21.10.1992

Letter from Hillel Markman, Director of The Israel Ballet, requesting permission for Per Artur Segerstrom to perform the balcony pas de deux from Romeo and Juliet, 7 Aug 1977. Carbon copy of Iris Law's typed reply on behalf of Kenneth MacMillan, granting permission, acknowledging that Annette Paul will dance Juliet, and confirming royalty fee, 20 Sep 1977

One invoice and one covering handwritten fax from Deborah MacMillan on behalf of Kenneth MacMillan and Partner for three performances of The Balcony Pas de Deux from Romeo and Juliet, 17 Apr 1989