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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 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.

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, concerning 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.

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 to confirm that he has received Freedman's letter on his return from holidays the day before. Aldrich and Myers want to have the play put on at a summer stock theatre but Beaton is afraid they might not get the right cast and production. If Grace Kelly is willing to do it in 1955/56 she would not want to start on summer stock. Glen Byam Shaw thinks Beaton has a better chance of success in America as the English critics had not favourably received the first version. Shaw would have loved to direct it if he wasn't as busy. He felt Beaton needed a very robust director, and Frith Banbury would not do. Beaton would love to have Peter Glenville who is unfortunately booked up. Quotes from A3/1/29. Beaton will get in touch with Kitty Black to see if she has any suggestions. Binkie wrote to him an interesting letter, although Beaton disagrees with some of the objections. Beaton may come to America to work on Enid's play. He read the first act which he found "enchanting".

Beaton wished they had had the opportunity of working more closely together since the rehearsals have started. Knows Seale's position has been very difficult. Realizes that taking Wolfit was a great mistake and hopes to find a replacement for him.

Thanks him for the telegram. Hopes that he will "forgive an author's intransigence insisting upon painting in the background as well as the face".

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.