누가 Peggy Ashcroft와 데이트 했나요?

Edith Margaret Emily Ashcroft (Surrey; 22 de diciembre de 1907-Croydon, Londres; 14 de junio de 1991), más conocida como Peggy Ashcroft, fue una actriz británica.

Tuvo su debut en 1927, haciendo apariciones desde 1932 con la compañía teatral Old Vic y ganando cierto reconocimiento con la puesta en escena de Romeo y Julieta en 1935. Interpretó el papel principal en más de 100 escenificaciones, actuando tanto en comedia como en obras dramáticas con mucho éxito.

Siendo una de las grandes actrices del teatro inglés, fue miembro fundadora de la Royal Shakespeare Company en 1961, entidad que después administró. Apareció en películas como 39 escalones de 1935, y Pasaje a la India, ganando un premio Oscar en 1984, además de participar en series televisivas como The Jewel in the Crown de 1984.

Es la abuela de Emily Loizeau.

존 보인턴 프리스틀리(John Boynton Priestley, 1894년 9월 13일 ~ 1984년 8월 14일)은 영국의 극작가다.

자작소설인 <친구좌(座)>를 극화한 후 극작가로서 활약했으며, 1930년대의 작품으로 <위험한 길모퉁이>(1932)가 있고, <때와 콘웨이의 집>(1937) <추억의 땅>(1937) 등 특히 시간의 개념을 추구한 유니크한 작품으로 각광을 받았다. 그 후 약 30년간에 걸친 극작활동에서 40편에 가까운 작품을 발표하여 질량면에서 버나드 쇼 다음가는 최대의 극작가가 되었다. <라바남의 숲>(1933) <에덴의 끝>(1934) 등과 같은 환상풍의 희극과 <밤의 음악>(1938) <요르단강을 넘는 존슨>(1938) 등과 같이 실험적 수법을 시도한 야심작, 전시(戰時)의 정치평론적 알레고리라고도 할 수 있는 <어느 마을에 온 사람들>(1943), 전후의 대표작으로 문제극적 요소가 짙은 서스펜스 드라마의 <경관(警官)의 내방>(1946) 외에 다양한 작품이 많다. 또한 50년대 후반 이후는 극단을 멀리하고 있었으나 아이리스 머독의 소설을 공동각색한 희극풍의 이색작인 <잘라진 목>(1963)으로 다시 돌아왔다.

Paul Leroy Robeson ( ROHB-sən; April 9, 1898 – January 23, 1976) was an American bass-baritone concert artist, actor, professional football player, and activist who became famous both for his cultural accomplishments and for his political stances.

In 1915, Robeson won an academic scholarship to Rutgers College in New Brunswick, New Jersey, where he was the only African-American student. While at Rutgers, he was twice named a consensus All-American in football and was elected class valedictorian. He earned his LL.B. from Columbia Law School, while playing in the National Football League (NFL). After graduation, he became a figure in the Harlem Renaissance, with performances in Eugene O'Neill's The Emperor Jones and All God's Chillun Got Wings.

Robeson performed in Britain in a touring melodrama, Voodoo, in 1922, and in Emperor Jones in 1925. In 1928, he scored a major success in the London premiere of Show Boat. Living in London for several years with his wife Eslanda, Robeson continued to establish himself as a concert artist and starred in a London production of Othello, the first of three productions of the play over the course of his career. He also gained attention in Sanders of the River (1935) and in the film production of Show Boat (1936). Robeson's political activities began with his involvement with unemployed workers and anti-imperialist students in Britain, and it continued with his support for the Republican cause during the Spanish Civil War, the Soviet Union and Joseph Stalin, and his involvement in the Council on African Affairs.

During the Second World War, Robeson initially opposed Allied war efforts and US entry into the conflict during the Molotov–Ribbentrop Pact, but became a highly vocal supporter of the war efforts after the German Invasion of the Soviet Union. His history of supporting Soviet policies brought scrutiny from the Federal Bureau of Investigation (FBI). After the war ended, the Council on African Affairs was placed on the Attorney General's List of Subversive Organizations. Robeson was investigated during the McCarthy era. When he refused to recant his public advocacy for the Soviet Union, the U.S. State Department withdrew his passport and his income plummeted. He moved to Harlem and published a periodical called Freedom, which was critical of United States policies, from 1950 to 1955. Robeson's right to travel was eventually restored as a result of the 1958 United States Supreme Court decision Kent v. Dulles.

Between 1925 and 1961, Robeson released recordings of some 276 songs. The first of these was the spiritual "Steal Away", backed with "Were You There", in 1925. Robeson's recorded repertoire spanned many styles, including Americana, popular standards, classical music, European folk songs, political songs, poetry and spoken excerpts from plays.