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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.

Rehearses all his grievances against Wolfit. Wolfit was selfish during rehearsals. Resorted to "virtual blackmail" by threatening to walk out of the play. Gave a "shamefully unsuitable, old-fashioned performance". Failed to learn the part. Inserted "humourless, oversentimental phrases". Sought pity when afraid that his behaviour would make him unpopular. "Finally broke all theatre ethics" by communicating his private grievances to the press with no consideration for the other actors and people involved. Beaton could not refute his aspersions for fear of further damaging the play. He had been warned of Wolfit's "reputation for recalcitrance" when he approached him. Hopes "there will be less opportunities for [him] to create these disturbances in future".

Typescript letter in which Beaton offers his apologies for the unsatisfactory photographs he produced for the April issue, yet nevertheless defends his actions. He suggests that, however unsuccessful the results of the feature were perceived to have been, the detailed explanations he presents in his letter should indicate that "they were not brought about by any lack of integrity or interest on [his] part". Beaton agrees that it would be better if the magazine ceased to offer him such sittings and allowed him to continue with his interest in fashion photography elsewhere.

Typewritten letter in which Beaton discusses his travel plans to the U.S. for work on 'On a Clear Day' and the publication of photographs taken by Beaton of Barbra Streisand in Vogue magazine. Beaton also writes that his initial experience of working with Streisand has been positive.

A letter from Beaton, regarding the royalty status of the set designs for "Quadrille"; designs for "Portrait of a Lady", and details from a postcard sent by Enid Bagnold. Beaton concludes by indicating that he will shortly depart for Paris, to "sniff the new breezes" and a break before his trip to America.

Typewritten letter from Beaton, who discusses his proposed length of stay in America and his desire to work with Helen Pons. With regards to "Quadrille", Beaton writes that he is willing to give them a certain amount of his time, though he is under no obligation to do so.

Typewritten letter, regarding the signature of the contracts for "Portrait of a Lady", and expressing Beaton's disappointment that "The Chalk Garden" appears to have been momentarily shelved. He writes that the directors, Austin and Noyes, appear concerned about the cost of the costumes and suggests that it will be necessary for them to discuss such considerations with Helen Pons, whom, he writes, he is certain will charge a fair price. There are five evening dresses which he believes will be expensive, however, they will not be more so than those of any other designer.

A letter from Beaton, regarding an alteration in the costume design fee for the film 'On A Clear Day You Can See Forever'. Beaton also discusses the dates for both his trip to Hollywood and to Morocco in order to buy materials for the costumes.

A typescript letter, in which Beaton writes that he has just returned from Venice. Will delete the unpopular passages before it goes to New York. This experience made him realize how difficult it is to write a play. Agrees that the critical reception was harsh because of high expectations. Their great mistake was to to have invited the critics and Beaton's "so-called friends" to a raw opening performance. Beaton hasn't seen Ardele yet, but the reviews are not good. He thinks he will come to New York this autumn. He made a new décor for Casse Noisette at the Young Sadler's Wells. Jokes that as the last act takes place in the Hall of Sweets, it will be no setback if the critics deem his work "too chocolate-boxy".

Handwritten note, in which Beaton expresses his distress in having heard that Barbara Karinska has not yet been fully commissioned to create the costumes for 'La Traviata'. Beaton writes that Karinska is an artist and should be treated with great deference; she is unhappy with the present situation.