Parte 4 - Royal Opera House pre-and post-production lists and correspondence

Zona de identificação

Código de referência

RAD/2/MAC/3/1/22/4

Título

Royal Opera House pre-and post-production lists and correspondence

Data(s)

  • 1977-1986, undated (Produção)

Nível de descrição

Parte

Dimensão e suporte

10 typed pages, 15 pages of photocopies, nine printed pages, one handwritten and two typed letters, one telegram, and one photograph

Zona do contexto

Nome do produtor

MacMillan, Kenneth
(1929-12-11 - 1992-10-29)

História biográfica

Kenneth MacMillan was born in Dunfermline, Scotland, and began ballet classes in Retford, England, in 1940. He joined the Sadler's Wells Ballet School in 1944 and later the Sadler's Wells Ballet but gave up dancing for choreography partly due to crippling stage fright. His first choreographic work was Somnambulism, created for the Sadler's Wells Ballet Choreographic Group in 1953 and he created works for both Royal Ballet companies throughout his career. He created significant works for The Stuttgart Ballet and his works are danced by ballet companies world-wide. He has also created work for television and cinema.
Kenneth MacMillan was Director of the Deutsche Oper Ballet in Berlin from 1966 to 1969, Artistic Director of The Royal Ballet from 1970 to 1977 and its Principal Chroreographer from 1977 until his death. He was also Associate Director of American Ballet Theatre from 1984 to 1989, and Artistic Associate of the Houston Ballet from 1989 to 1992.
Kenneth MacMillan was knighted in 1983, and he received honorary degrees from the University of Edinburgh (1976) and the Royal College of Art (1992). His awards include the Evening Standard Ballet Award (1979); Society of West End Theatre Ballet Award, 1980 and 1983; and, posthumously, the Laurence Olivier Award for Best New Dance Production in 1993 for The Judas Tree; the Society of London Theatre Special Award in 1993; and the Tony Award for Best Choreography in 1994 for Carousel

Entidade detentora

Royal Academy of Dance

História do arquivo

Fonte imediata de aquisição ou transferência

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Âmbito e conteúdo

  1. Four typed pages of Mayerling - Costume Breakdown, giving a list of characters for each scene, design number and names of dancers, from Morgan Rendell, Wardrobe Master, 20 Oct 1977. With handwritten annotations by Kenneth MacMillan in purple felt tip pen
  2. Three typed lists of names of the dancers in specific scenes. On the reverse of one page are handwritten lists by Kenneth MacMillan comparing the different dances in Manon and Mayerling
  3. One photocopy of a typed page of provisional casting
  4. Nine photocopies of typed pages of programme notes by Gillian Freeman, John Lanchbery and Edward Thorpe, one with a typed covering note from Peter Brownlee to Kenneth MacMillan, on Royal Opera House headed notepaper, 23 Jan 1978
  5. One typed page of the list of characters for the programme
  6. Four photocopies of typed pages of the list of characters and the synopsis for the programme
  7. Nine pages of the proof-copy of the programme, with some notes typed in red on Edward Thorpe's programme note
  8. One carte de visite photograph of the Emperor Franz Josef
  9. One page of a handwritten letter to John(Tooley) from Kenneth MacMillan complaining that the first night of Mayerling is to be a Gala performance in the presence of The Queen Mother. With a typed reply from Claus Moser, Chairman of the Royal Opera House and apologising for not consulting Kenneth MacMillan about this decision, 15 Dec 1977
  10. One handwritten list by Kenneth MacMillan listing four of his ballets and the number of performances (?). On the reverse of a telegram from Stuttgart Ballet giving permission for Concerto to be performed by The Royal Ballet
  11. One typed receipt from Nicholas Georgiadis acknowledging receipt of payment for design of projected alterations for the January 1980 revival of Mayerling, signed
  12. One typed letter from Anthony Russell Roberts, Administrative Director of The Royal Ballet, to Kenneth MacMillan about proposed changes to the design which would make the ballet easier to tour. 3 Apr 1986

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