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A typewritten letter, in which Beaton says he cannot agree to drop Design "D" for the shoes, though of course he does not want an exorbitant charge for the creation of the peasant boots.

Typewritten letter; Beaton praises Aoyama's work on 'Madame Butterfly' and expresses his anticipation in working with Aoyama for the 'Turandot' production. He also discusses particular set designs for the opera.

Typescript letter, in which Beaton explains that he has drawn up some sketches which now appear to contradict the ideas presented by Aoyama. While he concedes that he would be prepared to make alterations to Act II, according to Aoyama's suggestions, he requests that Aoyama be prevailed upon to allow Beaton to execute his plans for Act I as desired.

A typewritten letter, concerning photostats for the set designs.

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 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.

A typewritten letter, in response to Wittstein's letter dated 24th July, with a cover letter from Eileen Hose to Arnold Weissberger, requesting that Weissberger familiarise himself with the contents of the letter before passing it on to Wittstein. Beaton writes of his consternation upon hearing that his work has been accidentally incinerated. While he accepts that accidents do happen, he is deeply frustrated that his work has been lost and requests that an exact list of what is missing be sent to him.

Beaton writes that he has now a stage-worthy script of the Gainsborough Girls. Him, Aldrich and Myers want to put the play on in April. Glenville is not free before June as he has to stay for "Romeo and Juliet" with Olivia de Havilland so they asked Peter Brook instead, but he is busy too. They met Marianne Davis who promised they could have the Duke of York's Theatre for the opening if they are ready soon. Beaton feels Gainsborough should not be played by a star as "it is really a play about the two daughters and their love affair with Angus." He discusses potential actors (H. Griffith, H. Horden, Laurence Hardy) and directors (Glen Byam Shaw, Frith Banbury, Peter Potter, Ken Tynan). Beaton is very anxious not to delay the play any further and slightly worried about Aldrich and Myers. He decided to make the décor for the City Centre Ballet of Swan Lake.

Beaton writes that Sherek's letter of 8 Feb. altered all their plans. Myers is very disappointed that the play cannot open in April, but they all agree that Margaret Johnson is worth waiting for. Glenville is exhausted by his production of "Romeo and Juliet" with Olivia de Havilland. Beaton cancelled his sailing to visit him in Boston and ask him to produce the play. If Glenville refuses he will come back by the next boat, otherwise he will work with him on the designs. Barring Glenville, Margaret Johnson and Beaton want Banbury to direct, and Beaton wants to know if he is free. Myers will agree to any director and cast. Beaton thinks Barry Jones may be interested.

Beaton writes that he is very upset about the difficulties in putting on his play. They might have to postpone it until Autumn, in which case they should try to secure Roger Livesey. Kay Brown thinks that they should assemble a cast now, and that Beaton should go back to London immediately. Beaton, though, wants Evans to investigate potential directors and cast before his return. He apologizes for his apparent callousness when told about Peter Potter's leg amputation. He discusses potential actors and actresses: Irene Worth is his favourite, to play either daughter. Marianne Davis wants them to go ahead with the production in order to get into the Duke of York's. Beaton has heard that the celebrated Sam Berman has also had difficulties with his play, so maybe what he is going through is usual in the theatre world; remains hopeful.