Kenneth MacMillan created a three-act version of Anastasia for The Royal Ballet which premiered on 22 Jul 1971 at the Royal Opera House, Covent Garden. The material comprises:

1. A copy of French's Acting Edition No.967, The Recognition Scene from Anastasia by Marcelle Maurette, English Adaptation by Guy Bolton
2. A typed letter from John E. Manahan to Vernon Clarke, Manager of The Royal Ballet, 1 Jul 1971. The letter states that his wife, Grand Duchess Anastasia of Russia, joins him in granting free and unrestricted use of her name to The Royal Ballet for the forthcoming production of Anastasia. On letter head of The Huguenot Society of the Founders of Manakin in the Colony of Virginia, USA
3. Telegram to Kenneth MacMillan from Ursula Moreton, with love and best wishes for the first night, 22 Jul 1971
4. Telegram to Kenneth MacMillan from Ninette de Valois, 'Dear Kenneth you know how much I would have a great ballet meet with recognition and success for its Choreographer My Love Madam', 22 Jul 1971
5. Postcard from John Osborne, congratulating MacMillan, 23 Jul 1971
6. Handwritten letter from HRH Princess Margaret, congratulating Dear Kenneth on a really wonderful ballet and hoping he took absolutely no notice of the foully aggressive piece in The Times. On Kensington Palace headed notepaper with hand addressed envelope, 27 Jul 1971
7. Carbon copy of an interview by Rodney Milnes, titled Anastasia, discussing with Kenneth MacMillan the adverse press reaction to the ballet, the complexities of the narrative and cuts that MacMillan proposes to make. (Later published in Harpers & Queen, October 1971).
8. Press cutting of a Tabriz carpet of c. 1914 depicting Tsar Nicholas II, together with the Tsarina Alexander and the Tsarevich, Alexis. From Michael [Oliver] to Kenneth, 15 May 1980

Kenneth MacMillan created the one-act ballet Le Baiser de la fee for The Royal Ballet which premiered on 12 Apr 1960 at the Royal Opera House, Covent Garden. The material comprises:

1. A handwritten letter from Ninette de Valois with some suggestions for improvements, particularly to the Svetlana Beriosova role as the fairy. Undated
2. Telegram from Leo Lerman in New York to Kenneth MacMillan at the King's Theatre, Glasgow. 'Baiser Marvelous as Ever', 29 Sep 1960

Kenneth MacMillan created a new version of his 1960 ballet Le Baiser de la fee for The Royal Ballet which premiered on 8 May 1986 at the Royal Opera House, Covent Garden. The material comprises:

1. Cast list handwritten by Kenneth MacMillan in blue felt pen, giving names of roles with dancers, some alternative names added in pencil. Also gives the number of costumes for each role
2. Typed list of dancers in the 1985/86 Season at The Royal Ballet, listed under Principals, Soloists, Coryphees and Artists, with pencil markings by Kenneth MacMillan
3. Typed cast list for Baiser de la fee with alternative casts
4. Handwritten letter from Norman Morrice, Artistic Director of The Royal Ballet, to Kenneth MacMillan, wishing him 'everything good for tonight's programme and special success for the new Baiser!' 8 May 1986
5. Handwritten good luck letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, praising his 'very imaginative choice of designer', 8 May 1986
6. Good luck telegram from Misha [Mikhail Baryshnikov] and Charles [Dillingham], New York, 7 May 1986
7. Good luck telegram from Charles Dillingham, New York, 7 May 1986, 'Best Wishes From All of Us for a Great Opening Night. Come Home Soon.'
8. Double page spread from the programme for the first performance of this version by The Royal Ballet at the Royal Opera House of Le Baiser de la fee, on a triple bill of MacMillan ballets. Includes quotations from works by G.K.Chesterton on Fairy Tales
9. Page torn from the programme with notes by Nicholas Dromgoole on Le Baiser de la fee, hit or myth? On the reverse are programme notes by Clement Crisp on Anastasia and Concerto, the two other MacMillan works on the triple bill
10. Three colour and 12 black and white copies of costume designs with the character and dancers' names
11. Three pages each with two polaroid photographs of the Model Set and handwritten details and instructions
12. One page with two colour schemes attached, with handwritten notes

Kenneth MacMillan created the one act ballet The Burrow for The Royal Ballet Touring Company which premiered on 2 Jan 1958 at the Royal Opera House, Covent Garden. The ballet was restaged for Birmingham Royal Ballet and opened on 31 Oct 1991at the Birmingham Hippodrome. The material comprises:

1. Scenario and list of characters for The Burrow, handwritten by Kenneth MacMillan
2. Typed letter from Gilbert Vernon to Deborah MacMillan enclosing the above scenario. Vernon was a dancer with The Royal Ballet and was in the pas-de trois in MacMillan's first ballet for the Company, Danses Concertantes. He cannot remember where he got the the scenario but thought he should return it in case it should be of any use for a possible biography
3. Telegram from Bobbie (Robert Helpmann?), with wishes for a great success. 1 Jan 1958
4. Greetings card to Kenneth MacMillan signed by members of Birmingham Royal Ballet, wishing him good luck for the first night and thanking him for the opportunity of working with him again. Signatures include Desmond Kelly, Anita Landa and Marion Tait. 31 Oct 1991
5. Note on idc paper, a request for Kenneth MacMillan to call Peter Wright about the possibility of performing The Burrow as part of the '50th Anniversary of Ann (sic) Frank ', n.d.
6. Typed fax from Birmingham Royal Ballet with Provisional casting for The Burrow, 1991/92 season, 7 Nov 1991

Kenneth MacMillan created the one-act ballet Different Drummer for The Royal Ballet which received its premiere on 24 Feb 1984 at the Royal Opera House, Covent Garden. Material in the two files consists of notes and correspondence before the opening night, good luck telegrams and cards for the first night, and cards of congratulation. There are two pages of handwritten notes on choreographic score notation paper, mostly by Kenneth MacMillan, in pencil and black biro (large)

The material in this file consists predominantly of notes and correspondence relating to the first night, with a small amount of material in response to the opening night. Kenneth MacMillan's concept for the ballet changed significantly during the rehearsal process causing the set and costumes to be simplified. This is reflected in some of the material which comprises:

1. Two pages of handwritten notes by Kenneth MacMillan on yellow interdepartmental communication paper. The notes lists dancers' names and the music for different episodes with page references. Undated
2. Two page handwritten letter from Yolanda Sonnabend to Kenneth MacMillan with 'thoughts after yesterday's meeting with John [B.Read], discussing lighting and the positioning and use of the bath. Pen and ink. Undated
3. Handwritten note from Yolanda Sonnabend to Kenneth MacMillan about make up for the dancers. In pencil on yellow inter departmental communication paper. Undated
4. Typed letter from Anthony Russell-Roberts, Administrative Assisant, The Royal Ballet, to Kenneth MacMillan re rehearsal schedule. On Royal Opera House headed notepaper, 10 Oct 1983
5. Typed cast list with alternative casts, 1984/85 February
6. Typed preliminary Props List, 14 Feb 1984
7. Photocopy of music note by Paul Griffiths for the programme with covering letter to Kenneth MacMillan and photocopied inter departmental communication requesting comments. Sent by Janet Jempson, Publications department at the Royal Opera House, 30 Jan 1984. The top page has a handwritten note 'Kenneth the Music Note for "------". P.B. [Peter Brownlee] suggesting that it was sent a second time to Kenneth MacMillan
8. Typed letter from John McMurray, Publications Editor at the Royal Opera House, to Kenneth MacMillan enclosing a copy of Michael Patterson's note on Buchner and Woyzeck, requesting comments. 7 Feb 1984. With photocopy of the note attached
9. Page proof of the cast list for the programme for the first performance of Different Drummer
10. Handwritten letter from Catherine Ashmore, photographer, to Kenneth MacMillan, expressing her disappointment at not being able to take the rehearsal pictures of his new ballet and thanking him for offering her the opportunity. 14 Feb 1984
11. Press cutting from Londoner's Diary in The Standard newspaper, 24 Feb 1984, reporting on the simplification of set and costumes for the ballet and suggesting a waste of funds, with photocopy of response from John Tooley, General Director of the Royal Opera House, 27 Feb 1984
12. Typed letter from John C Botts, Managing Director of Citicorp International Group, to Kenneth MacMillan, thanking him for allowing the company to participate in supporting the creation of his new ballet, 27 Feb 1984
13. Typed letter from Peter Brownlee to Kenneth MacMillan giving details of who to thank for sponsoring the ballet and the party, 27 Feb 1984
14. Typed idc from Anthony Russell-Roberts asking if 'Our President', [HRH the Princess Margaret] could sit in on a rehearsal, 3 Jan 1984

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.

Kenneth MacMillan created this one act ballet for The Royal Ballet which received its first performance on 19 Mar 1992 at the Royal Opera House, London. The score was commissioned from Brian Elias with designs by Jock McFadyen

One file containing handwritten notes and typed scenario, and a later publication proof. The material comprises

1. Two pages of handwritten breakdown of the action of the ballet by Act and Scene, with timings, by Kenneth MacMillan, in blue biro with additions in pencil and black felt tip pen. On Royal Opera House headed notepaper
2. Three pages of handwritten breakdown of the action of the ballet by Act and Scene, with timings, in an unidentified hand. On lined paper
3. Two typed pages giving the scenario for the ballet, with handwritten annotations by Kenneth MacMillan in pencil and black felt tip pen, and break down with timings on the reverse of each page. The second page has a piece torn off but there is no missing information
4. Photocopy of two typed pages giving the scenario for the ballet, with slight differences from item 2
5. Six photocopied pages of proofs for notes to accompany the Covent Garden Video Production recording of Manon, with some queries and annotations (large)

This file contains letters and telegrams of good luck plus letters of congratulations. There are two invitations to the receptions at the Royal Opera House following the first performance and a letter from Denis Healey, on Treasury Chambers headed notepaper, thanking Kenneth MacMillan for the offer of tickets for the premiere