Showing 220 results

Includes correspondence, diaries, notebooks, typescripts and one photograph.

32 autograph letters from Beaton to his family from abroad, 6 telegrams, 4 press cuttings, and 1 rough sketch of a dress.

Typescript letter (possibly not from Beaton), regarding details for the set designs for "The School for Scandal".

Asks Minster to place the document in which he presents "dispassionately, [his] appreciation of the Wolfit matter" before the Society of West End Managers, if he agrees with it.

Thanks Minster for his encouraging comments. Justifies his right to intransigence in the interest of the play. Criticizes Wolfit for inserting big speeches of his own into the play without Beaton's agreement. Would prefer that the play did not go to London. He will try to be as civil as possible to Wolfit during the photo call. Feels that he does not have the support of Seale as he ought. Is ready to rewrite the play to include Seale's proposed improvements but wants Wolfit and Seale to respect his text. Asks Minster what time it would be convenient for them to meet with Seale.

Beaton writes that they made a great mistake in taking Wolfit who has no team spirit. No progress has been made in ridding him of his "cliché tricks and barnstorming artifices". Hopes Minster will find an advantageous way of getting rid of him. In his postscript, Beaton comments: "the bully has deflated as soon as a firm stand was taken." Minster should on no account let him come to London.

Letter from Beaton [?], in which Beaton laments certain alterations to the set design and hopes to persuade Gredy et al. that his suggestions would be beneficial. Beaton also encloses a costume chart with the letter.

Typescript letter, in response to Bing's letter dated 6th March, regarding his involvement in producing the stage designs for "Adriana Lecouvreur". Beaton writes that he wanted a short break after having worked on "Turandot", but having done some preliminary work and having developed a greater appreciation of the music through conversations with his neighbour, the music critic, Desmond Shawe-Taylor, he is eager to progress further with "Adriana Lecouvreur". He would, however, prefer to set the opera in the Edwardian period, rather than the eighteenth century, which Beaton feels has been "over-done". He also proposes a meeting with Nathaniel Merrill [stage director for the Met between 1956 and 1985], for further discussions before he becomes engaged in other summer activities.

Typescript letter from Beaton, acknowledging Bing's letter dated 6th March, but requesting leave to answer it when he has had time to acquaint himself with "Adriana Lecouvreur" more fully, after which he will respond to Bing more fully.

Typescript letter in response to Bing's letter dated 29 November. Beaton writes that he is sorry he was unable to speak to Bing during his visit to New York, but that it was rather rushed and made difficult by the President's assassination. He would very much like to work with Alfred Lunt on a new production of 'La Traviata' and plans to begin some preliminary sketches shortly.