Supporting Performing Arts Collections

Anita Heyworth in ‘Fire or Spirit of the Bushfire’ (1926). Photograph: Thomas Longworth-Cooper. From: Natural Movement Archive, National Resource Centre for Dance

2011 ‘archival’ reconstruction of the 1934 W.B. Yeats/Ninette de Valois dance-drama ‘The King of the Great Clock Tower’. Photograph © Patrick Baldwin (2011). From: The Royal Ballet School Collections, White Lodge Museum

Costume design by Jeannetta Cochrane for Yvonne Arnaud in ‘Love for Love’ by William Congreve, Phoenix Theatre, London, 1943. From: Central Saint Martins Museum and Study Collection

Novello Theatre, London. From: Cameron Mackintosh Ltd & Delfont Mackintosh Theatres Ltd

Scrapbook of theatre architect E.A. Woodrow, 1890s. From: The Theatres Trust

Programme for the Oxford Theatre, 1911. From: The Theatres Trust

Architect-engineer Edwin O Sachs on skeleton stage bridges during the remodelling of the Royal Opera House stage, 1900-1901. From: Edwin O Sachs Photographic Collection, Royal Opera House Collections

Storyboard of ‘Henry V’ from Kenneth Branagh’s film adaptation, Renaissance Films, 1988. From: Shakespeare Institute Library, University of Birmingham

Cover of the sheet music for ‘The Colleen Bawn Quadrille’, c.1861. From: Calthrop Boucicault Collection, Special Collections & Archives, University of Kent

Maria Callas as Violetta in Act I of ‘La traviata’ (1957/58 revival) at the Royal Opera House. © Roger Wood Photographic Collection, Royal Opera House Collections

Drawing of Indian dancer Ritha Devi by artist Eilean Pearcey. © National Resource Centre for Dance

Mask for Christopher Bruce’s dance work ‘Ghost Dances’ (1981) for Rambert Dance Company, designed by Belinda Scarlett. From: Rambert Archive

Toy theatre print of William Macready as Count Florinski in ‘The Exiles of Siberia’, published by O.Hodgson, 1831. From: Roy Waters Theatre Collection, Archives, Royal Holloway, University of London

Set design by Barry Kay for Kenneth MacMillan’s three-act ballet ‘Anastasia’ (1971), showing the imperial ballroom in Act II of The Royal Ballet’s production. © Michael Werner, Barry Kay Archive

Choreographer Frederick Ashton’s message in one of G.B.L. Wilson’s car journeys visitors books. From: GBL Wilson Archive Collection, Royal Academy of Dance, Philip Richardson Library

Playbill advertising the children’s pantomime ‘Babes in the Wood’ at the Lyceum Theatre, 24 December c.1913. From: Melville Collection, Special Collections & Archives, University of Kent

1930s American Fairground poster. From National Fairground Archive. © University of Sheffield

Joseph Grimaldi’s clown suit, early 19th century. © Museum of London

Unidentified set design by Barry Kay, believed to have been created for a UK drama production, late 1950s/early 1960s. © Michael Werner, Barry Kay Archive

Peter Pears, Andre Previn, Benjamin Britten, and Elisabeth Söderström rehearsing Britten’s song cycle ‘Our Hunting Fathers’ at Snape Maltings, 1976. Photographer: Nigel Luckhurst © Britten-Pears Foundation

Programme for the Guthrie Theater’s 2008 production of ‘The Secret Fall of Constance Wilde’ by Thomas Kilroy. From: Tom Kilroy Archive, James Hardiman Library, NUI Galway

Drawing of Balinese dancers by artist Eilean Pearcey. © National Resource Centre for Dance

Costume for David Paltenghi’s ballet ‘House of Cards’ for Ballet Rambert, designed by Leslie Hurry. From: Rambert Archive

Costume worn by Charles Kean as Hotspur in ‘Henry IV Part One’ 1850s. © Museum of London

Exterior of the Royal Albert Hall at its opening on 29 March 1871. From: Royal Albert Hall Archive

Drawing for model of Globe Playhouse, with section drawings by William Poel, 1897. From: University of Bristol Theatre Collection