Gwen Ffrangcon-Davies was internationally recognized, but in recent times her name is less well known. When she is acknowledged it is usually as a co-star, specifically in her role as Juliet opposite John Gielgud in the 1920s. Gielgud's high profile, as a luminary in twentieth-century Shakespeare performance and beyond, associates Ffrangcon-Davies with a figure of influence in many published theatre histories. However, this location is problematic both in terms of the inference of her comparative insignificance and in the acceptance and perpetuation of a version of events that fails to recognize her contribution. The story about auditioning for Ellen Terry and the work she did with Gielgud perpetuated a connection with an important theatrical dynasty – an association which she enforced and exploited, recognizing that it could be a valuable asset in realizing her ambition. In the inter-war period her work with Gielgud realized significant professional achievement and popularity (Richard of Bordeaux, The Importance of Being Earnest). During the war her work on Macbeth enabled her to maintain a connection with the London stage, and on her return to the country she was to find herself working with Gielgud again.

Dynasty

Association with a theatrical dynasty could do much to promote an acting career, although the expectations generated by a claim to theatrical lineage could lead to unfavourable comparisons with illustrious ancestors.