FSLG Annual Review - Senate House Libraries - University of London

Tweet from Zoe Wilcox’s Twitter page
Although representing translations and adaptations didn’t offer her much in the way
of creative nourishment, she did view this work as vitally important. Since very few
London theatre managers spoke French (only Donald Albery according to Peggy), it
was impossible for her to interest producers in French plays until they had been
translated.
Peggy’s interest in foreign work could be attributed to her cosmopolitan upbringing.
She was born in New South Wales, Australia and grew up in South Africa. Her family
travelled a lot when she was growing up and the time she spent in Japan in particular
had a lasting effect on her. She often sought to enthuse others with her passion for
Japanese and French art and literature, both in her personal and professional life.
Tweet from Zoe Wilcox’s Twitter page
Paris for Peggy was synonymous with culture. More of her foreign clients lived in
Paris than in any other place, and many of them were émigrés like her. Eugène
Ionesco, Arthur Adamov, Fernando Arrabal, Armand Salacrou and Morvan Lebesque
were all clients, and she also represented Marcel Aymé, René de Obaldia, Robert
Pinget and Boris Vian. In addition, Peggy’s roster included translators of French and
European work, and in some cases Peggy would represent both the original author
and translator of a play. Peggy did however see a distinction between translators
who were also dramatists, and those who weren’t. She once said that she would not
recommend translator (and Peggy’s friend) Barbara Wright to do a free adaptation,
because she was not a playwright.
Tweet from Zoe Wilcox’s Twitter page
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