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

Correspondence from administrative and artistic staff at the Royal Opera House including Anthony Russell Roberts, John Tooley, Paul Findlay, Peter Wright and Norman Morrice, the press and publications departments. It includes a handwritten draft and typed letter from Kenneth MacMillan to the Editor of The Guardian Newspaper and a typed letter from Peter Wright to Linda Christmas, in response to her article criticising MacMillan's period as Artistic Director of The Royal Ballet, concerns raised by Kenneth MacMillan and Norman Morrice about technical standards at the Royal Opera House, events to celebrate the 50th anniversary of The Royal Ballet and Sadler's Wells Royal Ballet in 1981, a performance of Romeo and Juliet to celebrate the marriage of TRH The Prince and Princess of Wales, 1981, Ninette de Valois's 80th birthday, the proposed premiere of The Prince of the Pagodas in 1983, to Cameron Mackintosh Productions re the possible release of Stephen Jefferies, the Financial Scrutiny of the Royal Opera House by Clive Priestley, the redevelopment of the Royal Opera House, possible performances by Natalia Makarova in the 1984/85 season.
There are handwritten letters from Ninette de Valois and her brother Gordon Anthony re Madam's 80th birthday, from Colin Davis and Norman Morrice, and postcards from Peter Wright from Yugoslavia, 1981, from Leslie Edwards, Monica Parker and Michael Somes from Japan and China, 1983.
Interdepartmental communications give details of press nights, interviews and photographers

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

This file contains:

1. Agreement for Concerto, 1968
2. Two letters from Brigitta Bergrren-Hedin, one including a request for two dancers to perform the Romeo and Juliet balcony pas de deux at Varna, and comments on Erik [Bruhn], 14 May 1970
3. Christmas postcard with black and white photograph of the Company in Les Noces (Robbins), 1971
4. Letter from Ivo Carmer re casting Romeo and Juliet, 7 May 1979
5. Letter from Veil Bethke re performing Manon in 1980, a typed list of the opera/ballet dancers in the 1979/80 season, with Kenneth MacMillan's note for corps de ballet roles, double page leaflet with head shots of the company members for the 1979/80 season with K. MacMillan's notes re roles
6. Invitation to a meeting of The Ballet Club of the Royal Opera, 13 Nov 1980, with envelope
7. Good luck telegrams from Norman [Morrice] and Iris [Law] for the first night of Manon, 22 Nov 1980
8. Greetings card from The Royal Swedish Ballet thanking K MacMillan for Manon, 22 Nov 2980
9. Letter from Gunilla ? enclosing a photocopy and a translation of a review of Manon during The Royal Swedish Ballet's tour to the Soviet Union,1981
10. Handwritten postcard from Desmond Reid re Princess Lillian of Sweden attending the opening performance, with envelope, n.d.
11. Correspondence between Kenneth and Deborah MacMillan, Kenneth MacMillan's Agent Kenneth Ewing and Solicitor David Ashby, and The Royal Swedish Ballet concerning performing rights for Romeo and Juliet and Manon, including copies of agreements, 22 Oct 1987-29 Jun 1988
12. Letter from Nils-Ake Haggbom inviting Kenneth MacMillan to look at the Company, do new casting for Manon, and discuss a new work, 20 Feb 1990, including a schedule of performances

In 1990 Universal Arts Management, New York, on requested permission on behalf of the Universal Ballet Company to perform the Romeo and Juliet balcony pas de deux. This file contains :
One handwritten fax from Kenneth MacMillan asking about the length of the license and who would dance Romeo, 27 Aug 1990
One typed fax explaining that as the Company currently does not have a permanent male principal strong enough to portray the role of Romeo, they will postpone the staging, 18 Oct 1990

One typed letter from Lord Londonderry requesting permission to include Concerto slow movement pas de deux and Romeo and Juliet balcony pas de deux in performance at Wynyard Park on behalf of the World Wildlife Fund, 23 Sep 1974. Performers would be Georgina Parkinson and Donald MacLeary, Doreen Wells and David Wall, with envelope

This file contains:

1. Handwritten letter from David Gayle, Founder Director of the Yorkshire Ballet Seminars, thanking Kenneth MacMillan for granting permission for dancers to perform from Concerto pas de deux and Romeo and Juliet balcony pas de deux, 14 May 1980
2. Typed letter from David Gayle giving details of the forthcoming Seminar and asking permission for Gail Taphouse and Michael Crookes to perform Concerto pas de deux, 28 Feb 1984

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House, London. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart.. This file contains

1. Three pages of lined paper with a handwritten list of the action of the ballet by Act and Scene, in blue biro
2. One photocopy of a fax giving a list of the extras for Romeo and Juliet, Teatro Alla Scala, Milan, 17.5.1995
3. Photocopies of three pages of a typed Rudimentary Prop List, with As of 12/13/84 handwritten on top of first page, with pencil annotations by Monica Parker, the list dated 13.5.1975
4. Photocopy of a stage plan with placings for props, Act I, scene 1, January 1976, The Royal Ballet

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House, London. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart.. This file contains the rough score by Faith Worth and comprises

1. Two title pages giving Book Numbers and contents, handwritten in black biro on score paper
2. Book 12, ring bound in blue card covers, with Romeo Act I Fight, Act II Letter Scene and Act II Romeo and Tybalt Fight on front cover, with notes and date 1980 in top right cover, in black biro over pencil and blue biro. 13 pages of score handwritten in pencil, blue biro and red felt pen. No back cover
3. Book 1, ring bound in blue card covers with Romeo, Romeo and Juliet on front cover with other details crossed out and details of Notes contained in the book added. Pencil, blue biro and felt tip pen, red felt tip pen. Two pages of score handwritten in pencil with green and black felt pen additions. Internal divider of blue card with Book 8, Corps - wedding Act II, Romeo, and Act III Potion Scene - Juliet written in blue felt tip pen, blue biro and pencil. Other details crossed out. Three pages of score handwritten in pencil
4. 13 loose pages of score handwritten in pencil, with lists of some casts, December 1971 and 1975
5. Book 10, ring bound in blue card covers with Romeo and Juliet Act I and a list of the dances in Act I, scene 4 in blue biro, with 14 pages of handwritten score in pencil, including six blank pages.
6. Book 3, ring bound in blue card covers with Romeo and Juliet Act I Balcony Pas de Deux and Act III Bedroom Pas de Deux in blue biro, with eight pages of handwritten score in pencil
7. Book 16, ring bound in blue card covers with Romeo and Juliet Act I and Act III and a list of the dances, and Checked 1970 at top left of cover, with 12 pages of handwritten score in pencil

Kenneth MacMillan created the three-act ballet Romeo and Juliet for The Royal Ballet which premiered on 9.2.1965 at the Royal Opera House. The ballet continues to be performed regularly by The Royal Ballet and is also in the repertory of ballet companies around the world. There are five files relating to the Benesh Movement Notation score, mostly the rough score recorded by Faith Worth with some later material recorded by Tom Steuart. This file contains part of the rough score by Faith Worth and comprises

1. One handwritten title page giving a list of the book numbers and contents, in black biro, undated
2. Book 5, ring bound with blue card covers, Act II, Romeo solo + 3 Ladies of the Town + Mercutio + Benvolio (Part 1) handwritten in black biro, and Romeo and Juliet written in green felt tip pen, with five pages of score in pencil
3. Book 15, ring bound with blue card covers, Romeo and Juliet Act II and Act III with the dances handwritten in blue biro, and Checked 1970 in top left corner, with eight pages of score in pencil
4. Book 15A, ring bound with blue card covers, Act 2 Marriage Scene/Friar Lawrence, Juliet gets potion from Friar Lawrence handwritten in blue biro. Further details in pencil crossed out, with five pages of score in pencil. No back cover
5. Book 13, ring bound with blue card covers, Romeo and Julie Act II No 30 (-after Marriage) Crowd Scene and Ton-Up, handwritten in black biro, Checked 1970 in top left corner, with 20 pages of score in pencil. Handwritten pencil notes on back cover have been crossed out
6. Book 9, ring bound with blue card covers, Romeo Act II Sword Fight (with 1980 New Fight), Act III Family Scene - after Bedroom P de D, and Act II Mother (Lady Capulet - Tyb's death) handwritten in blue felt tip pen, some annotations in red and green felt tip pen, with nine pages of score in pencil with blue biro markings. No back cover
7. Book 17, ring bound with blue card covers, Romeo Act II Mercutio's Death, Lead into Romeo fight with Tybalt, and Act III Dead P de D handwritten in blue felt pen, with annotations in red and green felt tip pen, with six pages of score in pencil
8. Two pages of score, in pencil, Dead P de D