The "unpleasant episode" over money between Balanchine and Prokofiev (p.112, Taper's Balanchine) is also mentioned in David Nice's Prokofiev: from Russia to the West. Prokofiev denied that the incident happened
I've been reading bits of the delightful Diaries and, yes, Prokofiev was a bit of a pill regarding "Prodigal Son" choreography. The diary entries of those dates have yet to be published but "Prokofiev's Ballet's for Diaghilev" by Stephen Press gives a fair account of the difficulties of producing PS.
Something like this was happening: Balanchine was choreographing two ballets at once; Prokofiev had given B. six pages of music that he didn't know what to do with--until he finally filled it with crawling and the all the business with the staff; and Diaghilev was being distracted by the arrival of Igor Markevich on the scene.
However, Prokofiev did write the great score and did conduct the music. Stravinsky said dryly to Prokofiev, regarding P's reservations about the choreography, something to the effect that perhaps he should avoid bible stories in the future. And "in the future" Stravinsky seems to have cooled on his friendship with Prokofiev and says this about him "I do no wish to criticize Prokofiev, and should be silent if I can say nothing good about him...I used to think that his depths were really engaged in playing chess..." (Memories & Commentaries). Balanchine who could be a bit cutting himself (in a particularly Georgian way according to Danilova) follows Stravinsky's lead on this.
Prokofiev, on the other hand, is so generous to Stravinsky (though not uncritically--his comments always have some bite) and to Diaghilev. "Stravinsky and I had adjoining rooms," P says about a trip to Milan in 1915, "so we unlocked the communicating door and had long conversations in the mornings. When he heard my Second Piano Concerto, Toccata and Second Sonata, Stravinsky was seized by the wildest enthusiasm declaring I was a real Russian composer, the only one to be found in Russia. For my part I was genuinely enthralled by his new Priaboutki which he preformed in a highly amusing style."
The diaries themselves are written in an amusing and touching style; in them P's life has the texture of a Russian novel, like Turgenev or Tolstoy Boyhood. There are the stories of the demanding friendships of his youth with Boris and (dear) Max, his continual flirtations (in the twenties with Stella Adler), his travels (there are descriptions of getting up early to watch snow falling from the backs of trains while troops are moving off to war on the other tracks) and his immersion in his music. Slightly selfish; both worldly and inwardly.
"Dressed in my new suit, which gave me a uniquely elegant 'English' air, I went to Pavlovsk...The conductor was Glazunov, and my God how boring, how featureless and amateurishly contrived his Third Symphony appeared after the new things I had been listening to in London. Basically Diaghilev's tastes and the outrageous liberties Stravinsky had taken in his "Nightingale" had already left their mark on me, and I no longer had patience with the bland and predictable flavor of Glazunov's neatly logical progressions. By comparison with my earlier compositions I intend my ballet to be a great modernistic leap forward; I have begun to cool towards the lyricism of my Violin Concerto, which I loved so tenderly before my departure for London. What I need to do now is create a ballet that will make people gasp and stretch their eyes, and after that I can settle back to the benign peace of my Violin Concerto." 15 July 1914