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Typescript letter in which Beaton discusses the preliminary stage designs and ground plans for 'La Traviata'.

Typescript letter in which Beaton requests that any major queries regarding his working drawings, models and costume designs be raised with him during his short visit to New York, commencing 18th October. Beaton also discusses the possible use of encrustation on an unknown stage and writes that he would like to view samples of how such encrustation can be achieved. Finally, he re-iterates that he will be very disappointed if the task of making the costumes is not entrusted to Barbara Karinska, as he doubts whether the intricacy of the ball gowns could otherwise be achieved.

Typescript letter in which Beaton refers to the set of technical drawings enclosed, alongside his models and costume designs. He welcomes any revised drawings in return, with additional modifications determined by Krawitz et al.

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.

A typewritten letter, in which Beaton writes that he has been making models of some of the scenes and ground plans. He also has a number of costume designs, but will wait to show these to Aoyama in person when he arrives in New York later in September.

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.

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.

Beaton writes that he would be thrilled if Van Druten would direct the play for him. Aldrich and Myers would leave him carte blanche. Is going to do the decors for Quadrille, the best play Noel [Coward] has ever done, in his opinion, and a lovely opportunity for Alfred [Lunt] and Lynn [Fontanne].

A letter in response to Aird's letter dated 26th July, confirming that it would be both an honour and a pleasure to welcome the Queen Mother to the exhibition on the agreed date.