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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.

A typewritten letter, concerning a request for his designs to be used for a British production of 'Turandot' in Covent Garden, London.

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 to Richard Myers. Has started another re-write of the play, using suggestions made by Allen Davis, the producer, to make Gainsborough a much more important part so that they can get a star for the role. Is working on it with a friend. Told Jack Minster who thinks it's an excellent idea. Will send Myers the new draft in a few weeks' time, and hopes that this new version will be less difficult to put on. Hopes Myers and Suzy are having nice holidays.

Draft typescript letter, in which Beaton writes that he has heard from Miss Le Maire that Mr Marcus is in Europe and unable to make any firm decision about the backdrop for the Bridal Salon until he returns. Beaton thinks that he will stay until the first week of April, but cannot be certain of that. However, he believes that he may well return in the late summer and would be interested to hear from Mr Marcus at any time. Beaton thinks that the backdrop could be a great success and would be willing to take photographs.

Typewritten letter, regarding the price of ball-gowns for the film 'On A Clear Day You Can See Forever'.

Typescript letter, in which Beaton responds to the queries raised in Bronson's letter, dated 30 December 1965. Beaton writes that he has been suffering from shingles for the past six weeks and is about to embark on a recuperative trip which may or may not culminate in New York; if he were to finish in New York, then he would be interested to see how work on the scenery and costumes for 'La Traviata' is progressing.

Typescript letter (possibly not from Beaton), regarding details for the set designs for "The School for Scandal".

Typewritten letter, regarding suggestions for improvements to the play. Beaton acknowledges that such suggestions are, strictly speaking, outside of his remit as Costume Designer, but expresses the hope that his "impertinent suggestions" be received in good spirit, in so far that they are "helpful in the general cause".

Typewritten letter, regarding the cost of costumes and Beaton's pleasure in working alongside Jose Quintero.