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A typewritten letter, concerning photostats for the set designs.

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.

Typewritten letter, in which Beaton voices his initial concerns in working with Yoshio Aoyama, and requests clearer information regarding what exactly is expected from him in terms of his sketches.

Handwritten letter, difficult to read. Original order of documents would suggest the letter is dated 15th January, 1960.

Thanks her for her birthday wishes. The weather has been very cold. Still has a hacking cough. Is annoyed by the Duchess of Kent's stupidity. Would be tempted to tell Philip Hay that he doesn't care "a tupenny toss" whether the article is published or not now that she has cut the final paragraph. But they can at least get the magazine to gives them "a very huge price" for it. Asks Eileen if he has any objections about the letter to Hall. He thinks he "allowed himself to get hot under the collar". Maybe a delay from him will "titillate P. o G." Asks her to whether Lila de Nobili's address is Peter Hall's. Received nice letter from Hansen.

A typescript letter from Beaton, in which he writes how he thinks his play could be done on television in England and /or other European countries. Heard of an agent in London who is used to dealing with the continent, Dr Suzanne Czech. Asks Freedman and asking whether he would agree to Czech taking care of this. Reports Cyril Connolly's praise of the play.

A typescript letter, in which Beaton asks Hose to write to Freedman explaining that he thinks his play can be done on television in England or abroad, and asking whether he would agree to Czech taking care of this. Asks her to write to Czech explaining the situation and send her the last copy of the play. She can also tell her that Cyril Connolly gave a very favourable report of the play in Brighton. Beaton thinks they left the Sauguet piece of music at Denman's. Is returning by post the Henry Duke of Portland book. Asks Eileen to type out all that he marked. Is taking "a ghastly pleasure" in "Memento Mori."

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 is encouraged by the good reception of the play's opening in Manchester and has ideas to rewrite it. The present company has much improved it since Brighton. Beaton discusses the place where the costumes are to be kept and asks Sherek to have them insured. He congratulates Sherek and hope he will have Laurence Hardy and Muriel Pavlow when the production is reassembled. He is going on a holiday until 8 Sept. He requests another copy of the play to work on it.

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.