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Typescript letter in which Beaton writes that he is in the process of sending his designs to Alfred Lunt and, provided that Lunt approves, the next phase of operations should commence on the 17th [June]. He requests that Wrong arrange for all detailed stage plans be sent to him before he starts to construct the model.

Typescript letter in which Beaton asks whether Bing has had any further confirmation from Alfred Lunt with respect to his work on 'La Traviata'.

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.

Typescript draft statement, unaddressed and unsigned, though clearly written by Beaton, in which he airs his grievances in working with the American film director, George Cukor (1899-1983) on the Hollywood production of 'My Fair Lady'(1964). In particular, Beaton writes that the limits Cukor has imposed on his taking photographs of the actress Audrey Hepburn while she is on set demonstrate a distinct lack of consideration for Beaton and his work. Beaton believes that this lack of consideration is another symptom of some deeper resentment on Cukor's part, and unless it can be overcome, there will be further pressure on a relationship that is already strained.

A typewritten letter, concerning a request for his designs to be used for a British production of 'Turandot' in Covent Garden, 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 (possibly not from Beaton), regarding details for the set designs for "The School for Scandal".

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.

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.