Peggy Ashcroft
Actress
Peggy Ashcroft
Dame Peggy Ashcroft, DBE was an English actress.
Biography
Peggy Ashcroft's personal information overview.
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Popular photos of Peggy Ashcroft
News
News abour Peggy Ashcroft from around the web
The Deep Blue Sea Will Close BFI London Film Festival - Bleeding Cool News
Google News - over 5 years
Rachel Weisz plays the lead, in a role that was first filled by Peggy Ashcroft when the play opened in 1952. Tom Hiddleston (Thor, War Horse) plays ex-pilot Freddie Page. It was adapted for the screen and directed by Terence Davis (The House of Mirth)
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'Paul Robeson' tells of immense talent, activism - Charlotte Observer
Google News - over 5 years
It's also a bit of a whitewash: There's no mention of his extramarital affair with Peggy Ashcroft (his first Desdemona) or the silent movies in which his characterizations seem crude or demeaning today. Dean plays up Robeson's dignity,
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The Observer's critics pick the season's highlights, from Degas to Depp, and ... - The Guardian
Google News - over 5 years
25 Film: The Deep Blue Sea First staged in 1952 with Peggy Ashcroft as Hester Collyer, the judge's suicidal wife, this is arguably Terence Rattigan's greatest play. Terence Davies's version, with Rachel Weisz in the same role, is eagerly awaited
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Performance at its very best - Absolutearts.com
Google News - over 5 years
Olivier can also be seen in James Laver's version of Klabund's 1929 THE CIRCLE OF CHALK and Gielgud's production of Gordon Daviot's 1934 QUEEN OF SCOTS, with more from Peggy Ashcroft in Ashley Dukes's adaptation of Leon Feuchtwanger's 1929 JEW SUSS
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Passion and some hope - Deccan Herald
Google News - over 5 years
... who was an integral part in the setting up of the Shakespeare Society in St Stephens College, said, “Lushin Dubey is India's answer to some of the legendary stage actresses of British theatre like Sarah Siddons, Peggy Ashcroft and Mrs Jameson
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Gielgud, a prince among actors - The Australian
Google News - over 5 years
There was the production of Romeo and Juliet at the Old Vic where they alternated Romeo and Mercutio to Peggy Ashcroft's Juliet. She thought Gielgud had the poetic edge but Olivier the greater electricity. The two great actors seem to have feared each
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BBC DVD/Blu-ray For September - Pop Culture Zoo
Google News - over 5 years
This unique anthology also includes her work with other screen icons in rare televised plays such as Henrik Ibsen's Little Eyolf, where she is joined by Anthony Hopkins, Peggy Ashcroft and Charles Dance, and Stanley Price's Genghis Cohn, which costars
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Celebrate Farmers Markets and PandaMania, and Travel to Canada and India - Patch.com
Google News - over 5 years
On Monday, August 15, at 5 pm, the library will screen the classic film starring Peggy Ashcroft, Judy Davis, and Alec Guinness, while enjoying a light dinner. A discussion of the book and the film will follow the movie. The program is free and open to
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From Rylander Memorial Library.. - San Saba News & Star
Google News - over 5 years
In 1961, she joined the Royal Shakespeare Company playing Anya in The Cherry Orchard with John Gielgud and Peggy Ashcroft. In 1968, she went beyond the classical stage to become a sensation as Sally Bowles in Cabaret, adding musical comedy to her
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Assured leading lady of the screen took no nonsense - The Age
Google News - over 5 years
The latter role had also attracted Celia Johnson, Peggy Ashcroft and Jean Kent, who had no doubt that Withers's portrayal was the most moving. When her husband was offered a managerial role with JC Williamson's, the couple decided to settle in
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'I read I was the luckiest man in Britain' - South Devon Herald Express
Google News - over 5 years
Nicholas began a screenplay and managed to get Dame Peggy Ashcroft and renowned producer John Box involved. In 1984, Nicholas went freelance, scripting and producing the film Just Like A Woman, which starred Julie Walters. He says: "It wasn't the film
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A singing masterclass from the countess of cabaret - The Guardian (blog)
Google News - over 5 years
While still playing the Countess of Roussillon – a role I've previously seen inhabited by Edith Evans, Peggy Ashcroft and Judi Dench – in All's Well That Ends Well at Shakespeare's Globe, she's taken time out to let down her hair and kick up her heels
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Sony Pays 'Homage to India' with Friday Feature - San Leandro India West
Google News - over 5 years
The 1984-release “A Passage to India,” starring Peggy Ashcroft, Judy Davis and Victor Banerjee will be aired July 8 at 10p.m. EST, while the more recent Rani Mukerji-Ranbir Kapoor-starrer Bollywood film, “Saawariya,” will air at 12:50a.m EST
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Geraldine James: the best performance I've ever seen - The Guardian
Google News - over 5 years
In 1969, the RSC performed Edward Albee's A Delicate Balance at the Aldwych starring the irreplaceable, incredible Peggy Ashcroft [as Agnes, an upper middle-class socialite]. I was 18 at the time and wanted to act so I got a job in the theatre as a
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The darkness at the heart of Much Ado About Nothing - The Guardian
Google News - over 5 years
Nobody in the know is likely to have suspected such a liaison between Peggy Ashcroft and John Gielgud, no matter how often they played Beatrice and Benedick (1931, 1950, 1955), but the onstage chemistry between his disdainful Benedick and her impish,
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OBRA SOBRE HEROE JOSE ARTIGAS CON ENTRADA LIBRE Y GRATUITA - Terra Argentina
Google News - over 5 years
Entre 1983 y 1990 dirigió obras del repertorio universal con figuras del teatro británico como John Gielgud, Peggy Ashcroft, Trevord Howard, Harold Pinter, Julie Christie y Kenneth Brannagh, además de fomentar a autores latinoamericanos como Ricardo
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Ez történt június 14-én - MonitorMagazin
Google News - over 5 years
Meghalt Jerome K. Jerome, angol író (Három ember egy csónakban). Megszületett New Yorkban Yasmine Bleeth amerikai színésznő (A kis kerítőnő). Meghalt Dame Peggy Ashcroft angol színművésznő, aki több mint 50 éven át állt a brit színjátszás előterében
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I pazzi siete voi - Quando soffia il vento - Sentieri Selvaggi
Google News - over 5 years
Racconta gli ultimi giorni di due anziani coniugi inglesi, Jim e Hilda Bloggs (con le voci di John Mills - La figlia di Ryan, Cats, Grandi speranze - e Peggy Ashcroft - Passaggio in India, Domenica, maledetta domenica, Il pedone), sopraffatti e
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The Rag Trade actress Miriam Karlin dies aged 85 - Telegraph.co.uk
Google News - over 5 years
She was in that great line of campaigning British left-wing actresses - along with Sybil Thorndike - who gave her her first break - and Peggy Ashcroft. "They were down there on the picket lines. She was friends with them both and they had tremendous
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Timeline
Learn about memorable moments in the evolution of Peggy Ashcroft
    LATE_ADULTHOOD
  • 1991
    Age 83
    Died in 1991.
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  • 1984
    Age 76
    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.
    More Details Hide Details She was the grandmother of the French singer Emily Loizeau. Ashcroft died from a stroke in London at the age of 83. Her ashes were scattered around a mulberry tree in the Great Garden at New Place, Stratford-upon-Avon, which she had planted in 1969. A memorial service was held in Westminster Abbey on 30 November 1991. 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 play Caught 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).
  • 1981
    Age 73
    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 Countess in All's Well That Ends Well, which she played at Stratford in 1981 and in London in 1982.
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  • 1972
    Age 64
    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 two stars revealed unexpected depths in their characters.
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  • FIFTIES
  • 1963
    Age 55
    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. These were generally well reviewed, but her performance in The Wars of the Roses in 1963 and 1964 had the critics searching for superlatives.
    More Details Hide Details 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: 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". 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 in Henry VIII (1969). 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".
  • 1958
    Age 50
    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.
    More Details Hide Details 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).
  • FORTIES
  • 1951
    Age 43
    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.
    More Details Hide Details In the second 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, Hedda Gabler (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.
  • THIRTIES
  • 1947
    Age 39
    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 in The Heiress in 1949.
    More Details Hide Details 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 Nothing and Cordelia to his King Lear.
  • 1945
    Age 37
    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.
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  • 1944
    Age 36
    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.
    More Details Hide Details 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.
  • 1940
    Age 32
    In 1940 Ashcroft met and married the rising lawyer Jeremy Hutchinson.
    More Details Hide Details They had a daughter the following year, and Ashcroft did little stage work while the child was young.
  • TWENTIES
  • 1937
    Age 29
    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.
    More Details Hide Details 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 delayed for a decade the further development of such a company.
  • 1936
    Age 28
    In May 1936 Komisarjevsky directed a production of The Seagull, with Evans as Arkadina, Gielgud as Trigorin and Ashcroft as Nina.
    More Details Hide Details The recent collapse of her marriage to the director made rehearsals difficult, but the critical reception was ecstatic.
  • 1935
    Age 27
    It ran from October 1935 to March 1936, and Ashcroft's Romeos were played in alternation by Olivier and Gielgud.
    More Details Hide Details Critical opinions differed as to the relative merits of her leading men, but Ashcroft won glowing reviews.
  • 1934
    Age 26
    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 emotional stress, must remain a thinking human being".
    More Details Hide Details 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.
  • 1933
    Age 25
    In 1933 she made her first film, The Wandering Jew.
    More Details Hide Details She was not attracted to the medium of cinema and made only four more films over the next quarter-century.
    Hart-Davis was granted a divorce in 1933, on the grounds of Ashcroft's adultery with the director Theodore Komisarjevsky.
    More Details Hide Details 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". 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 as "Two leading ladies, the like of whom I hope I shall never meet again."
  • 1932
    Age 24
    Ashcroft joined the Old Vic company for the 1932–33 season.
    More Details Hide Details 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. 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. During the season Ashcroft played five Shakespeare heroines, 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.
  • 1930
    Age 22
    In 1930 Ashcroft was cast as Desdemona in a production of Othello at the Savoy Theatre, starring Paul Robeson in the title role.
    More Details Hide Details 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. 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.
  • 1929
    Age 21
    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.
    More Details Hide Details 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 a lovely nostalgic-romantic talk of shared memories of long ago. She is a lovely person and the best actress living."
  • TEENAGE
  • 1927
    Age 19
    She graduated from the Central School in 1927 with London University's Diploma in Dramatic Art.
    More Details Hide Details Never much drawn to the West End or stardom, she learned her craft with mostly small companies in fringe theatres.
  • CHILDHOOD
  • 1907
    Born
    Born in 1907.
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Original Authors of this text are noted here.
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