This series primarily comprises print documents relating to the organization and administration of Heeley's theatrical career. It includes his appointment books and day planners (for most years from 1964 to 2011), his professional correspondence (faxes and letters), documents relating to his union activities, and administrative files relating to his design work. It also contains a record of his industry contacts, mainly in the form of business cards and addresses clipped from envelopes. The administrative documents found in this collection are limited and piecemeal in their scope, only relating to discrete facets of Heeley's professional activities; however, this series does contain invoices, schedules, personnel lists, and other communications for select productions. Some of Heeley's professional correspondence can be found interspersed among his personal correspondence, arranged in Subseries IV.3.
Box 32 Folder 1-4
"Executive Planner" notebooks, 1981-1984, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 33 Folder 1-4
"Executive Planner" notebooks, 1985-1988, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 34 Folder 1-4
"Executive Planner" notebooks, 1989-1992, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 35 Folder 1-4
"Executive Planner" notebooks, 1993-1996, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 36 Folder 1-4
"Executive Planner" notebooks, 1997-1998, 2001-2002, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 37 Folder 1-4
"Executive Planner" notebooks, 2003-2005, 2007, 4 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 38 Folder 1-3
"Executive Planner" notebooks, 2008-2010, 3 folders
Leatherbound, embossed with Heeley's name and containing Heeley's annotations. Business cards, receipts, notepaper, and correspondence are interleaved.
Box 38 Folder 4-5
Metropolitan Museum of Art calendars, 1964, 1970, 1972, 2 folders
Themed respectively: "Forty Paintings from and early 14th-century manuscript of the apocalypse"; "Parlors and palaces"; "Venice: Views and Echoes."
Box 39 Folder 1-5
Appointment books, 1966-1967, 1971, 1973-1975, 5 folders
The binding is deteriorating on the 1966 appointment book (labeled "diary").
Box 40 Folder 1-5
Appointment books, 1977-1981, 5 folders
Box 41 Folder 1-2
Appointment books, 2003, 2011, 2 folders
Box 41 Folder 3
Correspondence about the reuse of Heeley's designs, 1980, 1996, 1999, 2002-2003, 2006
From: Gallery 96, Testors, Ballet West, the Stratford Festival, Houston Grand Opera, Dallas Opera, the Winnipeg Art Gallery. About the sale of artworks and the revival of Heeley's productions. Includes a contract from Houston Grand Opera.
Box 41 Folder 4
Production notes and documents, 1972, 1980, 2003, 2008
Heeley's handwritten notes along with various official schedules and personnel lists. For Dallas Opera, The Importance of Being Earnest, The Guthrie Theater, Arms and the Man, and others. Includes some loose sketches.
Box 41 Folder 5
IATSE Bulletin, 2016
Box 41 Folder 6
Biographical materials, 1992-1993, undated
Biographies, lists of productions, and interviews.
Box 41 Folder 7
Much Ado About Nothing production documents, 1998
For the Stratford Festival. Includes personnel lists and production documents.
Box 41 Folder 8
Production notes, 1952, undated
For Giselle and other assorted productions.
Box 41 Folder 9
Faxes sent by Heeley, 1992-1993, 2004, undated
Personal and business faxes to various recipients including creative planning for productions.
Box 41 Folder 10
Finding aids for other Heeley archival collections, 2016, 2018
Printouts from the New York Public Library and the University of Minnesota and a typewritten list of his production bibles.
Box 41 Folder 11
Invoices, 1978, 1990, 1997-1999, 2002, 2010
Mostly for reimbursement for materials that Heeley purchased for costume construction but also includes invoices for services rendered. Includes some invoices from other companies for services and materials purchased by Heeley. For the Stratford Festival, Don Padgett Artist Management, The Theatre Store, and other businesses.
Box 42 Folder 1-4
Business letters, 1973-1974, 1976-1980, 1982-2001, 2003, 2006-2007, 2009-2014, 4 folders
Regarding Heeley's work for various opera, theater, and ballet companies, including: The Performing Arts Lodge Stratford; the Guthrie Theater; University of North Carolina at Greensboro; Stratford Shakespeare Festival; Centre de Danse International Rosella Hightower; Don Padgett Artists Management; Opera Theater San Antonio; STE Representation; Santa Fe Festival Theater; Austrialian Ballet; National Ballet of Canada; Brandeis University; Theater Memphis; United Scenic Artists Local 829; Northwestern University; English National Ballet; Milwaukee Ballet; Tulsa Ballet; Paradigm; York University; Foundation for the Joffrey Ballet; Metropolitan Toronto Library Board; the Juilliard School; University of Southern California; Playmakers Repertory Theater; Edwin A. Ulrich Museum of Art; Sadler's Wells Opera Company; State Theater Pretoria;/; Roadshow Distributors; Great Lakes Theater Festival; Agora Gallery; Hood; Florida State University; Hong Kong Ballet; International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators; Appalachian State University; Royal Academy of Dancing; The Gallery, Stratford; Children's Aid Society of Metropolitan Toronto; University of Minnesota; Pennsylvania State University;/; John Simon Guggenheim Memorial Foundation; Houston Ballet; Theater Development Fund Costume Collective; Fort Worth Dallas Ballet; Prentice-Hall Publishers; Royal Winnipeg Ballet; Royal Opera House; Richmond Ballet; American Conservatory Theater; University of Ottawa; Canadian Broadcasting Corporation;/; National Museum of the Performing Arts; United States Institute for Theater Technology; University of Houston; University of Colorado at Boulder; Florida State University; University of Texas at Austin; Collector Communications Corporation; the Kiwanis Club of Ottawa; Subjects include: Heeley's teaching; royalties on revival productions, the reprinting of Heeley's designs; the sale of Heeley's designs; agency and union fees; and the terms of Heeley's design contracts. Includes many letters of appreciation for Heeley's design and teaching work.
Box 42 Folder 5
Administrative documents for theatrical work, 1971, 1979-1980, 2007-2008
Includes: notes and correspondence about various productions including Camelot and Macbeth; financial documents; a theater inventory.
Box 42 Folder 6-8
Envelopes and address clippings, circa 1979-2016, 3 folders
Addresses for Heeley's contacts in the United Kingdom, Canada, Australia, and the United States of America
Box 42 Folder 9
Loose notes, addresses, and phone numbers, 2010, undated
Mostly to-do lists, business cards, budget calculations, and phone numbers on scraps of paper, but also includes some unrelated ephemera.
Box 42 Folder 10
Union materials, 1993, 2009, 2014-2016
For United Scenic Artists, the Theater Development Fund, and the International Alliance of Theatrical Stage Employees. Includes contracts, newsletters, and retirement plans.