Peggy Ashcroft

Dame Edith Margaret Emily Ashcroft, DBE (22 December 1907 – 14 June 1991),
known professionally as Peggy Ashcroft, was an English actress whose career
spanned more than sixty years.

Born to a comfortable middle-class family, Ashcroft was determined from an early

age to become an actress, despite parental opposition. She was working in smaller
theatres even before graduating from drama school, and within two years thereafter
she was starring in the West End. Ashcroft maintained her leading place in British
theatre for the next fifty years. Always attracted by the ideals of permanent theatrical
ensembles, she did much of her work for the Old Vic in the early 1930s, John
Gielgud's companies in the 1930s and 1940s, the Royal Shakespeare Companyfrom
the 1950s and the National Theatre from the 1970s.

Well regarded in Shakespeare, Ashcroft was also known for her commitment to
modern drama, appearing in plays by Bertolt Brecht, Samuel Beckett and Harold Ashcroft in 1936
Pinter. Her career was almost wholly spent in the live theatre until the 1980s, when
she turned to television and cinema with considerable success, winning an Academy
Award for Best Supporting Actressand several British and European awards.

Contents
Life and career
Early years
1930s
1940s and '50s
1960s
Later years
Honours, awards and memorials
Filmography
Film
Television
Radio
Notes, references and sources
Notes
References
Sources
External links

Life and career

Early years
Ashcroft was born in Croydon, Surrey, the younger child and only daughter of William Worsley Ashcroft (1878–1918), a land agent,
and his wife, Violetta Maud, née Bernheim (1874–1926). The biographer Michael Billington writes that Violetta Ashcroft was of
Danish and German-Jewish descent and a keen amateur actress.[1] Ashcroft's father was killed on active service in the First World
War. She attended Woodford School, East Croydon, where one of her teachers encouraged her love of Shakespeare, but neither her
teachers nor her mother approved of her desire to become a professional actress. Ashcroft was determined, however, and at the age of
sixteen, she enrolled at the Central School of Speech and Drama, run by Elsie Fogerty, from whom her mother had taken lessons
some years before.[2] The school's emphasis was on the voice and elegant diction, which did not appeal to Ashcroft or to her fellow
pupil Laurence Olivier. She learned more from reading My Life in Art by Constantin Stanislavski, the influential director of the
Moscow Art Theatre.[2]

While still a student, Ashcroft made her professional stage debut at the Birmingham Repertory Theatre in a revival of J. M. Barrie's
Dear Brutus opposite Ralph Richardson, with whom she had been greatly impressed when she saw him in Charles Doran's touring
company while she was still a schoolgirl.[3] She graduated from the Central School in 1927 with London University's Diploma in
Dramatic Art.[4] Never much drawn to theWest End or stardom, she learned her craft with mostly small companies in fringe theatres.
Her first notable West End role was Naemi in Jew Süss in 1929, an extravagantly theatrical production, in which she won praise for
the naturalism and truth of her playing.[5] In the same year she married Rupert Hart-Davis, then an aspiring actor, later a well-known
publisher. He later described the marriage as "a sad failure: we were much too young to know what we wanted ... after much agony
we parted and were duly divorced. Nowadays Peggy and I lunch together perhaps once or twice a year in a Soho restaurant and have
[6]
a lovely nostalgic-romantic talk of shared memories of long ago. She is a lovely person and the best actress living."

1930s
In 1930 Ashcroft was cast as Desdemona in a production of Othello at the Savoy Theatre,
starring Paul Robeson in the title role. The production was not well received, but Ashcroft's
notices were excellent. The production prompted a political awakening in Ashcroft, who was
astonished to receive hate-mail for appearing onstage with a black actor; she was angry that
Robeson was the star at the Savoy Theatre but was not welcome at the adjoining Savoy
Hotel.[7] During the run she had a brief affair with Robeson, which, followed by another with
the writer J. B. Priestley, put an end to her first marriage.[8] Hart-Davis was granted a divorce
in 1933, on the grounds of Ashcroft's adultery with the directorTheodore Komisarjevsky.[9]

Among those impressed by Ashcroft's performance as Desdemona was John Gielgud, recently
established as a West End star. He recalled, "When Peggy came on in the Senate scene it was
as if all the lights in the theatre had suddenly gone up".[10] In 1932 he was invited by the
Oxford University Dramatic Society to try his hand at directing, in the society's production of
Romeo and Juliet. Ashcroft as Juliet and Edith Evans as the nurse won golden notices,
although their director, already notorious for his innocent slips of the tongue, referred to them Ashcroft in 1936
[11]
as "Two leading ladies, the like of whom I hope I shall never meet again."

The Old Vic, photographed in 2012
Ashcroft joined the Old Vic company for the 1932–33 season. The theatre, in an
unfashionable area of London south of the Thames, was run by Lilian Baylis to offer
plays and operas to a mostly working-class audience at low ticket prices.[12] She
paid her performers very modest wages, but the theatre was known for its unrivalled
repertory of classics, mostly Shakespeare, and many West End stars took a large pay
cut to work there. It was, in Sheridan Morley's words, the place to learn
Shakespearean technique and try new ideas.[13] During the season Ashcroft played
five Shakespeare heroines,[n 1] as well as Kate in She Stoops to Conquer, Mary
Stuart in a new play by John Drinkwater, and Lady Teazle in The School for
Scandal.[14] In 1933 she made her first film, The Wandering Jew.[15] She was not
attracted to the medium of cinema and made only four more films over the next
quarter-century.[2]
During her professional and personal relationship with Komisarjevsky, whom she married in 1934 and left in 1936, Ashcroft learned
from him what Billington calls "the vital importance of discipline, perfectionism, and the idea that the actor, even during passages of
[1]
emotional stress, must remain a thinking human being".

After appearing in another film, The 39 Steps, and a succession of stage failures, Ashcroft was once again cast as Juliet by Gielgud,
this time in a West End production that attracted enormous attention. It ran from October 1935 to March 1936, and Ashcroft's
Romeos were played in alternation by Olivier and Gielgud. Critical opinions differed as to the relative merits of her leading men, but
Ashcroft won glowing reviews.[16] In May 1936 Komisarjevsky directed a production of The Seagull, with Evans as Arkadina,
Gielgud as Trigorin and Ashcroft as Nina. The recent collapse of her marriage to the director made rehearsals difficult, but the critical
reception was ecstatic.[17]

After playing briefly and without much pleasure in New York, Ashcroft returned to London in 1937 for a season of four plays
presented by Gielgud at the Queen's Theatre. She played the Queen in Richard II, Lady Teazle in The School for Scandal, Irina in
Three Sisters, and Portia in The Merchant of Venice. The company included Harry Andrews, Glen Byam Shaw, George Devine,
Michael Redgrave and Harcourt Williams, with Angela Baddeley and Gwen Ffrangcon-Davies as guests. The directors were Gielgud
himself, Tyrone Guthrie, and Michel Saint-Denis. Billington considers that this company laid the foundations of post-war ensembles
such as the Royal Shakespeare Company and the National Theatre. The Munich crisis and the approach of the Second World War
.[1]
delayed for a decade the further development of such a company

1940s and '50s

In 1940 Ashcroft met and married the rising lawyer Jeremy Hutchinson. They had a daughter the following year, and Ashcroft did
little stage work while the child was young. Her main appearances during the war years were in Gielgud's company at the Haymarket
Theatre in 1944, playing Ophelia in Hamlet, Titania in A Midsummer Night's Dream, and the title role in The Duchess of Malfi. She
won excellent notices, but the productions were thought to lack flair, and were unfavourably compared with the exciting work of the
rival Old Vic company under Richardson and Olivier's leadership.[1][18] After the Haymarket season Ashcroft resumed her break
from the theatre, first campaigning for her husband, who stood as a Labour candidate in the 1945 general election, and then bearing a
second child, Nicholas, in 1946.[19]

Returning to the stage in 1947, Ashcroft had two long-running successes in a row as the alcoholic Evelyn Holt in Edward, My Son, in
the West End and then on Broadway, and the downtrodden Catherine Sloper inThe Heiress in 1949.[1]

Ashcroft began the 1950s with a return to Shakespeare, at the Shakespeare Memorial Theatre,
Stratford-upon-Avon, playing Beatrice to Gielgud's Benedick in Much Ado About Nothingand
Cordelia to his King Lear.[14] In 1951 she returned to the Old Vic, playing Viola in Twelfth
Night, the title role in Electra and Mistress Page in The Merry Wives of Windsor. In the second
[1]
of these, according to Billington, "she scaled the austere peaks of Greek tragedy".

Through the rest of the decade, Ashcroft's career switched between commercial productions in
the West End and appearances in the nascent subsidised theatres in Shakespeare and
experimental works. In the former she made a deep impression as the adulterous, suicidal
Hester Collyer in Terence Rattigan's The Deep Blue Sea (1952) and was well reviewed as the
governess Miss Madrigal in Enid Bagnold's The Chalk Garden (1956). Her roles for non-
commercial managements were in Shakespeare at Stratford and on tour,[n 2] Hedda Gabler
Gielgud as Benedick
(1954) and the double role of Shen Te and Shui Ta in The Good Woman of Setzuan (1956).
The last of these was not a success, but Ashcroft was credited with courage for taking the role
on.[1]

In 1958, Peter Hall, who had been appointed to run the Shakespeare Memorial Theatre, approached Ashcroft with his plans for a
permanent company, with bases in Stratford and London, and a regular, salaried company, presenting a mixture of classical and new
plays. Ashcroft immediately agreed to join him, and her lead was, in Hall's view, key to the success of the new Royal Shakespeare
Company (RSC).[1]
1960s
In the RSC's first seasons Ashcroft played Katharina in The Taming of the Shrew, Paulina in
The Winter's Tale (1960), The Duchess of Malfi (1961), Emilia in Othello (1961), and
Ranevskaya in The Cherry Orchard, opposite Gielgud as Gaev.[15] These were generally well
reviewed, but her performance in The Wars of the Roses in 1963 and 1964 had the critics
searching for superlatives. The production was a reshaping of Shakespeare's three Henry VI
plays and Richard III. Ashcroft, then aged fifty-six, played Margaret of Anjou, ageing from
blithe youth to ferocious old age as the plays progressed. The critic Philip Hope-Wallace
wrote of:

... the quite marvellous, fearsome performance of Dame Peggy Ashcroft as

Margaret of Anjou, who skipped on to the stage, a lightfooted, ginger, sub-deb
Ashcroft in 1962
sub-bitch at about 11.35 a.m. and was last seen, a bedraggled crone with
glittering eye, rambling and cussing with undiminished fury, 11 hours later,
having grown before our eyes into a vexed and contumacious queen, a battle-
axe and a maniac monster of rage and cruelty ... even the stoniest gaze was
momentarily lowered from this gorgon.[20]

At about this time Ashcroft's third and last marriage was beginning to fall apart. According to Billington she found solace in her
work, and threw herself into classical and avant garde works "with ever greater fervour".[1] Her roles in the 1960s were Arkadina in
The Seagull (1964), Mother in Marguerite Duras's Days in the Trees (1966), Mrs Alving in Ibsen's Ghosts (1967), Agnes in Edward
Albee's A Delicate Balance (1969), Beth in Pinter's Landscape (1969) and Katharine of Aragon inHenry VIII (1969).[15]

Later years
In the 1970s, Ashcroft remained a pillar of the RSC but when Peter Hall succeeded Olivier as director of the National Theatre in 1973
he persuaded her to appear there from time to time. She also appeared at the Royal Court in Duras's The Lovers of Viorne (1971) in
the role of a schizophrenic killer, a performance that the young Helen Mirren found so accomplished that "I just wanted to rush out
and start all over again".[21] Many were surprised when Ashcroft appeared with Richardson at the Savoy in 1972 in what was by all
appearances a conventional West End drawing room comedy, Lloyd George Knew My Father, by William Douglas-Home, but the
[22]
two stars revealed unexpected depths in their characters.

For the National, Ashcroft appeared in Ibsen's John Gabriel Borkman, Beckett's Happy Days, Lillian Hellman's Watch on the Rhine
and Pinter's Family Voices. Her RSC roles were Lidya in Aleksei Arbuzov's Old World (1976), and her final stage part was the
[15]
Countess in All's Well That Ends Well, which she played at Stratford in 1981 and in London in 1982.

In the years after her last stage appearance Ashcroft made occasional, but highly successful, television and film appearances. For The
Jewel in the Crown she won a BAFTA award for best actress in 1984, and for her portrayal of Mrs Moore in David Lean's 1985 film
A Passage to India she won another BAFTA best actress award and the 1985 Oscar for best supporting actress.[15] She was the
grandmother of the French singerEmily Loizeau.[23]

Ashcroft died from a stroke in London at the age of 83.[1] Her ashes were scattered around a mulberry tree in the Great Garden at
New Place, Stratford-upon-Avon, which she had planted in 1969.[24] A memorial service was held in Westminster Abbey on 30
November 1991.[1]

Honours, awards and memorials

Ashcroft's British state honours were Commander of the Order of the British Empire (CBE) in 1951 and Dame Commander of the
Order (DBE) in 1956. Her foreign state honours were the King's Gold Medal, Norway (1955), and the Order of St Olav, Norway
(Commander, 1976). She was awarded honorary degrees by eight universities and was an honorary fellow of St Hugh's College,
Oxford. In addition to the Oscar and BAFTA awards mentioned above, she received a Venice Film Festival Award for She's Been
Away (1989), a BAFTA Award for the television playCaught on a Train (1980), a special award from the British Theatre Association
for the television play Cream in My Coffee (1982), a special award from BAFTA (1990) and a special Laurence Olivier Award
(1991).[15]

Ashcroft is commemorated with a memorial plaque in Poet's Corner, Westminster Abbey. The Ashcroft Theatre in Croydon was
named in her honour in 1962.[1]

Filmography

Film

Year Title Role Notes

1933 The Wandering Jew Olalla Quintana [25]

Margaret, the [26]

1935 The 39 Steps
crofter's wife

1936 Rhodes of Africa Ann Carpenter Released in the US asRhodes, the Empire Builder[26]

1940 Channel Incident She Short[27]

1941 Quiet Wedding Flower Lisle11 [27]

Nominated – BAFTA Award for Best Actress in a

1959 The Nun's Story Mother Mathilde
Leading Role[28]

1968 Secret Ceremony Hannah [26]

Nominated – BAFTA Award for Best Actress in a

1969 Three Into Two Won't Go Belle
Supporting Role[28]

1971 Sunday Bloody Sunday Mrs Greville [26]

The Pedestrian (German: Der [26]

1973 Lady Gray
Fußgänger)

1977 Joseph Andrews Lady Tattle [27]

Academy Award for Best Supporting Actress[29]

BAFTA Award for Best Actress in a Leading Role[28]
Boston Society of Film Critics Award for Best
Supporting Actress[30]
Golden Globe Award for Best Supporting Actress –
1984 A Passage to India Mrs Moore
Motion Picture[31]
Los Angeles Film Critics Association Award for Best
Supporting Actress[32]
National Board of Review Award for Best Actress[33]
New York Film Critics Circle Award for Best Actress[34]

1986 When the Wind Blows Hilda Bloggs Voice[26]

Nominated – BAFTA Award for Best Actress in a
1988 Madame Sousatzka Lady Emily
Supporting Role[28]

Television
 Year Title Role Notes

1937 Twelfth Night [35]

The Wednesday Play: Days in the

1967 Guest Star[36]
Trees
Play of the Month: The Cherry [27]
1971 Ranevskaya
Orchard

Hullabaloo Over Georgie and Nominated – British Academy Television Award

1978 Lady G
Bonnie's Pictures for Best Actress (also for Edward & Mrs. Simpson)[28]
Nominated – British Academy Television Award
1978 Edward & Mrs. Simpson Queen Mary for Best Actress (also for Hullabaloo Over Georgie
and Bonnie's Pictures)[28]

Caught on a Train Frau Messner [27]

British Academy Television Award for Best

Cream in My Coffee Jean Wilsher
Actress (also for BBC2 Playhouse)[28]
1980
British Academy Television Award for Best
Actress (also for Cream in My Coffee)[28]
BBC2 Playhouse
Broadcasting Press Guild Award for Best
Actress[37]

1982 Play of the Month: Little Eyolf The Rat Wife [27]

British Academy Television Award for Best

Actress[28]
Nominated – Golden Globe Award for Best
1984 The Jewel in the Crown Barbie Batchelor Actress – Miniseries or Television Film[31]
Nominated – Primetime Emmy Award for
Outstanding Lead Actress in a Miniseries or a
Movie[38]
Nominated – Primetime Emmy Award for
1987 A Perfect Spy Miss Dubber Outstanding Supporting Actress in a Miniseries
or a Movie[38]
Venice Film Festival – Golden Ciak Award for
Best Actress
Venice Film Festival – Pasinetti Award for Best
Actress
1989 Screen One: She's Been Away Lillian Huckle Volpi Cup for Best Actress[39]
Nominated – British Academy Television Award
for Best Actress[28]
Nominated – Broadcasting Press Guild Award
for Best Actress

Radio
The Duchess of Malfi BBC Third Programme, (1954)[40]
Macbeth BBC Third Programme, (1966)[41]

Notes, references and sources

Notes
1. Cleopatra in Antony and Cleopatra, Imogen in Cymbeline, Rosalind in As You Like It, Portia in The Merchant of
Venice and Miranda in The Tempest.[14]
2. Cleopatra (1953), Beatrice (1955), Rosalind(1957) and Imogen in Cymbeline (1957).
References
1. Billington, Michael. "Ashcroft, Dame Edith Margaret Emily (Peggy) (1907–1991)"(http://www.oxforddnb.com/view/arti
cle/39440), Oxford Dictionary of National Biography, Oxford University Press, 2010, retrieved 15 January 2015
(subscription or UK public library membership (http://www.oxforddnb.com/help/subscribe#public) required)
2. "Obituary: Dame Peggy Ashcroft",The Times, 15 June 1991, p. 14
3. Miller, p. 34
4. Gaye, p. 314
5. "Duke of York's Theatre", The Times, 20 September 1929, p. 12
6. Lyttelton and Hart-Davis, p. 24
7. Billington, Michael. "Near perfection in an imperfect world",The Guardian, 15 June 1991, p. 21
8. Ziegler, p. 67
9. "Probate, Divorce, and Admiralty Division",The Times, 11 May 1933. p. 4
10. Croall, p. 155
11. Morley, p. 85
12. Gilbert, p. 16
13. Morley, Sheridan and Robert Sharp."Gielgud, Sir (Arthur) John (1904–2000)"(http://www.oxforddnb.com/view/articl
e/74146), Oxford Dictionary of National Biography, Oxford University Press, January 2011, retrieved 2 February
2014 (subscription or UK public library membership (http://www.oxforddnb.com/help/subscribe#public) required)
14. Gaye, p. 315
15. Ashcroft, Dame Edith Margaret Emily, (Dame Peggy Ashcroft)" (http://www.ukwhoswho.com/view/article/oupww/who
waswho/U170884), Who Was Who, online edition, Oxford University Press, 2014, retrieved15 January 2015
(subscription required)
16. Croall, pp. 209–210
17. Morley, p. 133
18. "Haymarket Theatre", The Times, 14 October 1944, p. 2; 26 January 1945, p. 6; and 19 April 1945, p. 6
19. Donnelley, p. 44 (https://books.google.com/books?id=qAhtNiAl3YsC&pg=P
A44)
20. Hope-Wallace, Philip, "The Wars of the Roses at the Aldwych Theatre",The Guardian, 13 January 1964, p. 7
21. Hayman, Ronald, "Helen Mirren",The Times, 11 September 1971, p. 9
22. Miller, p. 249
23. Hutcheon, David. "Emily Loizeau: Pays Sauvage"(http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/
music/cd_reviews/article6874069.ece), The Sunday Times, 2009, accessed 13 May 2016; and"Dame Peggy
Ashcroft – Memorial service"(http://infoweb.newsbank.com/resources/doc/nb/news/0F91F132A0F7C3DD?
p=UKNB), The Times, November 30, 1991, accessed 14 May 2016
24. Morris, Sylvia. "Shakespeare's mulberries: trees of history and legend"(http://theshakespeareblog.com/2013/08/sha
kespeares-mulberries), TheShakespeareBlog.com, 12 August 2013; Prendergast, Thomas A. Poetical Dust: Poets'
Corner and the Making of Britain, University of Pennsylvania Press (2015),p. 186 (https://books.google.co.uk/book
s?id=JSTfCgAAQBAJ&pg=PA186) ISBN 0812247507; and Hodgdon, Barbara.The Shakespeare Trade:
Performances and Appropriations, University of Pennsylvania Press (1998),pp. 210–211 (https://books.google.co.u
k/books?id=cGZtVcOyuxgC&pg=PA210), ISBN 0812213890
25. F.S.N (14 January 1935)."Movie Review - A Dramatized Legend"(https://www.nytimes.com/movie/review?res=9407
EFDA103FE53ABC4C52DFB766838E629EDE) . New York Times. Retrieved 21 December 2017.
26. "Filmography for Peggy Ashcroft"(http://www.tcm.com/tcmdb/person/6225%7C123079/Peggy-Ashcroft/filmography.
html). Turner Classic Movies. Retrieved 21 December 2017.
27. "Peggy Ashcroft" (http://www.bfi.org.uk/films-tv-people/4ce2b9ef3fa39). British Film Institute. Retrieved 21 December
2017.
28. "BAFTA Awards Search - BAFTA Awards" (http://awards.bafta.org/keyword-search?keywords=Peggy+Ashcroft)
.
BAFTA. Retrieved 21 December 2017.
29. "The 57th Academy Awards (1985) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1985).
Retrieved 21 December 2017.
30. "Past Award Winners - Boston Society of FilmCriticsc" (https://web.archive.org/web/20141008041238/http://www .bo
stonfilmcritics.org/content/past-award-winners#1980s#1980s) . Archived from the original (http://www.bostonfilmcritic
s.org/content/past-award-winners#1980s)on 8 October 2014. Retrieved 21 December 2017.
31. "Peggy Ashcroft" (https://www.goldenglobes.com/person/peggy-ashcroft). www.goldenglobes.com. Retrieved
21 December 2017.
32. "LAFCA" (http://www.lafca.net/years/1984.html). Los Angeles Film Critics Association.
33. "1984 Archives - National Board of Review"(http://www.nationalboardofreview.org/award-years/1984/). National
Board of Review. Retrieved 21 December 2017.
34. "Awards - New York Film Critics Circle - NYFCC"(http://www.nyfcc.com/awards/?awardyear=1984). New York Film
Critics Circle. Retrieved 21 December 2017.
35. "BFI Screenonline: Ashcroft, Dame Peggy (1907-1991) Credits"(http://www.screenonline.org.uk/people/id/457078/cr
edits.html). www.screenonline.org.uk. Retrieved 21 December 2017.
36. "Days in the Trees". The Wednesday Play. Series 6. Episode 16.
37. "1981" (http://www.broadcastingpressguild.org/bpg-awards/1981-2/). Broadcasting Press Guild. 31 December 2007.
Retrieved 21 December 2017.
38. "Peggy Ashcroft - Television Academy" (http://www.emmys.com/bios/peggy-ashcroft#awards). Emmy Awards.
Retrieved 21 December 2017.
39. "Volpi Cup for Best Actress"(http://www.carnivalofvenice.com/the-city/events-in-venice/venice-film-festival/awards-a
nd-acknowledgements/volpi-cup/volpi-cup-for-best-actress?lang=en) . Retrieved 21 December 2017.
40. "radio plays drama,bbc,The Duchess of Malfi, by John W ebster, DIVERSITY website" (http://www.suttonelms.org.uk/
r3-the-duchess-of-malfi-1954.html). Suttonelms.org.uk. 16 May 1954. Retrieved 21 December 2017.
41. "Macbeth" (http://bufvc.ac.uk/shakespeare/index.php/title/av67827)
. bufvc.ac.uk. British Universities Film & Video
Council. Retrieved 21 December 2017.

Sources
Croall, Jonathan (2000).Gielgud – A Theatrical Life, 1904–2000. London: Methuen. ISBN 0413745600.
Donnelley, Paul (2003). Fade to Black: A Book of Movie Obituaries. Music Sales Group. ISBN 0711995125.
Gaye, Freda (ed.) (1967).Who's Who in the Theatre(fourteenth ed.). London: Sir Isaac Pitman and Sons.
OCLC 5997224.
Gilbert, Susie (2009). Opera for Everybody. London: Faber and Faber. ISBN 978-0-571-22493-7.
Lyttelton, George; Rupert Hart-Davis (1978).Lyttelton/Hart-Davis Letters, Volume 1. London: John Murray.
ISBN 071953478X.
Miller, John (1995). Ralph Richardson – The Authorized Biography . London: Sidgwick and Jackson.
ISBN 0283062371.
Morley, Sheridan (2001). John G – The Authorised Biography of John Gielgud . London: Hodder and Stoughton.
ISBN 0340368039.
Ziegler, Philip (2004). Rupert Hart-Davis: Man of Letters. London: Chatto & Windus.ISBN 0701173203.

External links
Peggy Ashcroft at the Internet Broadway Database
Peggy Ashcroft on IMDb
Peggy Ashcroft at the BFI's Screenonline

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