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Typescript letter to the American writer, philanthropist and co-founder of the New York City Ballet, Lincoln Kirstein (1907-1996), in which Beaton writes that the offer Kirstein proposed in his previous letter sounds fascinating. He plans to come to America after Christmas to begin a lecture tour in January and may have spaces in between lectures to come to New York. Beaton does not think that he could offer to go to New York especially for this job, given how costly accomodation and other expenses would be. However, he would like time to think over the problem, as it sounds a delightful job and this is only his first reaction. He is presently on his way to the Slade School of Fine Art, where he is trying to learn to paint with oils in a different style than he was taught at school.

Typescript letter to the American writer, philanthropist and co-founder of the New York City Ballet, Lincoln Kirstein (1907-1996), in which Beaton writes that he has enclosed a paragraph about George for the memorial show. Is thrilled by the possibility of designing set and costumes for Samuel Barber's new opera, 'Vanessa'. Adds that the news about the New York City Ballet dancer Tanaquil Le Clercq is very distressing and that he hopes for a better outcome than can be expected at present. Le Clercq contracted polio in Copenhagen while performing on the company's 1956 European tour and was subsequently paralyzed from the waist down.

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 writes that he has airmailed his designs to Arnold Weissberger and is eager to hear of Quintero's reaction. For instance, Quintero may find some of the costumes a little too gay, or too sombre, as the case may be. He may find Serena Merle's mauve evening dress a little too unsophisticated, but the intention is that its simplicity and understatement will in turn make her look sophisticated.

Handwritten note, regarding period setting for "Portrait of a Lady". Beaton asks whether Quintero would prefer to stage the production in the early or late eighteen-seventies, and offers his own opinion on the merits of each.

A letter from Beaton, regarding decisions to be made about certain costume designs under discussion, in response to concerns outlined in Quintero's previous letter, dated October 8.

Typescript letter in which Beaton replies to Schneider's letter dated July 18th.

Typescript letter, in response to Schneider's letter dated 7th July. Original letter is attached, with pencil annotations in answer to the various queries raised.

Beaton writes to Selznick with suggested improvements to the stage designs for "The Chalk Garden", based on the photostats he has received from her.

Typescript letter regarding the preliminary ground plan for "The Chalk Garden" and on the matter of casting. Beaton asks why Selznick has not considered Sybil Thorndike. He also offers his opinion on "Time Remembered" by Jean Anouilh, which he has recently been to watch with friends.