Peggy Feury (30 June 1924 — 20 November 1985) (born Margaret Feury) was an actress on Broadway, in films, and on television. She became a highly regarded acting teacher in New York and then in Los Angeles. Her students included Sean Penn, Meg Ryan, Johnny Depp, Ellen Burstyn, Jeff Goldblum, Vonetta McGee, Lou Gossett, Jr., James Cromwell, Crispin Glover, Eric Stoltz, Laura Dern, Lily Tomlin, Charlie Sheen, Annette O'Toole, Anjelica Huston, Meg Tilly, Nicolas Cage, Michelle Pfeiffer, and Oscar-winning screenwriters Bobby Moresco and Callie Khouri.
Peggy Feury, acting a part
June 30, 1924
Jersey City, New Jersey, U.S.
November 20, 1985 (aged 61)|
West Hollywood, California, U.S.
|Other names||Peg Feury, Margaret Traylor|
|Children||Stephanie Feury, Susan Traylor|
Feury was born in Jersey City, New Jersey. Her father was Richard Feury; her mother, born in Ireland, was also Margaret Feury; and her younger sister was Elinor Feury. She graduated from Barnard College, then attended the Yale School of Drama, later studying with Lee Strasberg at the Actors Studio, and with Sanford Meisner at the Neighborhood Playhouse.
While at Yale, Feury met and then married her first husband, playwright Louis S. Peterson.[a] Less than a decade later, following their divorce and Feury's remarriage, Peterson's semi-autobiographical play Entertain a Ghost was produced, chronicling a deteriorating marriage between a fictional playwright and actress with obvious parallels to Peterson and Feury. The play received from the Village Voice a positive and detailed review that expressed the feeling that the production should have run longer. It described it as "a daring and deeply exploratory new play, the best damned failure I've seen in years".
As Margaret Feury she appeared on Broadway in Me and Molly; Sunday Breakfast (staged by noted acting teacher Stella Adler); Enter Laughing; Peer Gynt, starring John Garfield, Mildred Dunnock, and Karl Malden, directed by Lee Strasberg; The Grass Harp, directed by Actors Studio co-founder Robert Lewis; The Lady of the Camellias, directed by Franco Zeffirelli, Chekov's Three Sisters, directed by Strasberg (with Feury eventually replacing Geraldine Page as Olga), and The Turn of the Screw. Off-Broadway she starred in Frank Wedekind's Earth Spirit at the Provincetown Playhouse.
Between 1956 and 1969, the Actors Studio undertook a project to record and archive work that was being done there, including performances of scenes from dramatic literature. These recordings have been archived as part of the University of Wisconsin Digital Collections. Feury participated in this project from its inception until her relocation to Los Angeles in December 1968.
Feury appeared in a number of television dramas beginning in the Golden Age of Television, including, in 1961, a significant role she played in “Murder is a Face I Know”, an episode from The Naked City, which can be found on the internet.
In November 1961, an early draft of the first scene of Edward Albee’s play, Who's Afraid of Virginia Woolf?, was presented on the public television program Playwright at Work. The characters George and Martha – which would later be originated on stage by Arthur Hill and Uta Hagen, and on screen by Richard Burton and Elizabeth Taylor – were portrayed by Shepperd Strudwick and Feury.
On October 2, 1977, Feury appeared in "Iowa," the second season premiere of Visions, PBS's Peabody Award-winning dramatic anthology series; it was also playwright Murray Mednick's television debut. The critical reaction was disappointment, but the actors fared better, Feury in particular. As the unwilling nursing home resident whose disjointed recollections provide her granddaughter an invaluable connection to her Iowa roots, Feury's portrayal was judged "[b]y far the best acting performance" by The Hartford Courant. Her performance, as the character veers "from family feeling to suspicion to self-absorbed recollection" – was noted by The Boston Globe, with The Los Angeles Times citing her "almost effortless grace" and "marvelous ferocity." Critic James Wolcott writes:
One scene teems with unruly life: Eileen visits her grandmother (Peggy Feury) in the nursing home, and the grandma's semi-senile outbursts have a crazy, cawing theatricality. "This is a cattle yard," says Feury's crone as the camera stares down the discarded people. "Bellowing, constant bellowing." Another patient – babbling "Operator, operator, operator" – is wheeled across the screen and grandma, like an Alice-in-Wonderland queen, issues a command: "Choke her!" This disreputably funny scene is capped when a nurse happens by and – perfect joke – turns out to be a Lily Tomlin lookalike.
Feury's film credits include Matt Cimber's The Witch Who Came from the Sea (1976), Richard C. Sarafian's The Next Man (1976) starring Sean Connery, Elia Kazan's film of The Last Tycoon (1976), starring Robert De Niro, Carl Reiner's All of Me (1984), starring Steve Martin and Lily Tomlin, Ken Russell's Crimes of Passion (1984), and Feury's final screen performance, in 1918 (1985), written by Horton Foote. A brief appearance in Donald Shebib's Heartaches (1981) was singled out by New York Times critic Vincent Canby: "That very fine actress Peggy Feury appears in a tiny but important scene as the doctor who advises Bonnie about a possible abortion."
By far Feury's most substantial film role (in terms of both sheer size and importance to a film's narrative) came in a little seen low-budget psychological horror film – John Ballard's Friday the 13th: The Orphan (1979), based on the short story Sredni Vashtar by Saki. In Nightmare USA (his 2007 study of lesser-known American exploitation filmmakers), Stephen Thrower writes:
Then there's Peggy Feury, a skilled and thoughtful actress who demonstrates here how she came to be one of the leading lights in her profession. (She taught acting at the Actors Studio, alongside Lee Strasberg.) The role of Aunt Martha is already well-written, but Feury brings her own amazingly subtle shadings to the part.
Feury was a charter member of the Actors Studio and frequently led sessions there when Lee Strasberg was unavailable. She also taught her own classes in the same building where Strasberg taught, behind Carnegie Hall.
In December 1968, at Strasberg's suggestion, Feury moved to Los Angeles with her husband William Traylor and their two daughters. After a brief stint teaching at Jack Garfein's Actors and Directors Lab, Feury helped establish the west coast branch of the Lee Strasberg Theatre Institute, where she would double as instructor and artistic director  until 1973, when she and Traylor started their own acting school, the Loft Studio, on LaBrea Avenue.
Sean Penn was 18 when he arrived at the Loft; he remained for two years, attending class twenty-five hours a week. Feury's "very gentle," "very personal" approach quickly won over the fiercely independent young actor, as did her emphasis on discovering "how [to] bring yourself to the material rather than the material to you." To Anjelica Huston, who began her studies in 1981 at age 30, Feury was "a revelation," with "a vast knowledge of playwrights" and "an extraordinary gift for making one feel understood." Huston describes her teacher as "beautiful," " quite small and delicate," with a "half way to heaven look." On the other hand, notes Huston, Feury was "extremely intelligent and mordant, Irish, with certain very visceral preferences", and yet had "a way of commenting on a scene that was never destructive. [Even when] you knew she thought it was pretty terrible, she had a way of translating it positively to actors – her process was very reinforcing, I think."
Feury was occasionally called upon to coach an individual actor in a role, as she did Michelle Pfeiffer in Brian De Palma's Scarface (1983) and Lily Tomlin in her one-woman stage show The Search for Signs of Intelligent Life in the Universe. The evolution of Tomlin's show formed the basis of a 1986 documentary in which Feury appeared posthumously; Tomlin dedicated the film to her memory.
Others who have studied with Feury include actors Richard Dean Anderson, Albie Selznick, Sam Behrens, Bruno Kirby, Joanna Kerns, Dean Cameron, Christopher Penn, Kate Vernon, Irene Tsu, Daphne Zuniga, Melissa Gilbert, Ed Begley, Jr., Arthur French, Sachi Parker, Taylor Miller, Michelle Phillips, Michelle Meyrink, Robert R. Shafer, Grainger Hines, Rosalie Williams, Marilyn Hassett, Hallie Foote, and Hart Bochner, as well as director Antero Alli, playwright Milcha Sanchez-Scott, and filmmaker John Gulager.
From the mid 1970s  until her death, Feury and her students frequently showcased the work of playwright Horton Foote, presenting four of his plays in their entirety plus a number of individual scenes from Foote's The Orphans' Home Cycle. In 1984, in her final film role, Feury was cast in the film version of Foote’s 1918, the seventh of The Orphans' Home Cycle's nine plays.
Illness and deathEdit
Feury struggled with narcolepsy. When she would come out of one of its spells she could be lucid as though she had been alert during the episode. She died Wednesday, November 20, 1985 in a car accident, a head-on collision, in West Los Angeles.
Stage credits (partial listing)Edit
These are acting credits except where otherwise indicated.
|Opened||Closed||Title||Writer(s)||Company and/or Venue||Director(s)||Role|
|Me and Molly||Gertrude Berg
Music arr. - Lehman Engel
|Belasco Theatre||Ezra Stone||Vera Wertheimer (as Margaret Feury)|
|Cock-a-Doodle-Do ||Iris Tree
Music - Ned Rorem
|Lenox Hill Playhouse||Margaret Barker||Norah (as Margaret Feury)|
|The Closing Door ||Alexander Knox||Wilbur Theatre||Lee Strasberg||NA (as Margaret Feury)|
|Earth Spirit ||Frank Wedekind||Studio 7
|John Stix||Lulu (as Margaret Feury)|
|Peer Gynt||Henrik Ibsen
Adaptation - Paul Green
Incidental music - Lan Adomian
|ANTA Playhouse||Lee Strasberg||Ensemble (as Margaret Feury)|
|The Grass Harp ||Truman Capote
Music - Virgil Thomson
|Colonial Theatre||Robert Lewis||Choir Mistress (as Margaret Feury)|
|Sunday Breakfast||Emilio Rubio and Miriam Balf||Coronet Theatre||Stella Adler||Martha Decker (as Margaret Feury)|
|Make Momma Happy ||George Baxt||Laketside Theatre (in Lake Hopatcong Landing)||NA||Norma Talmadge Greenwald (as Margaret Feury)|
|Make Momma Happy ||George Baxt||Parsons Theatre (in Hartford, CT)||NA||Norma Talmadge Greenwald (as Margaret Feury)|
|Make Momma Happy ||George Baxt||Walnut Street Theatre||NA||Norma Talmadge Greenwald (as Margaret Feury)|
|A Hatful of Rain ||Michael V. Gazzo||The Actors Studio||Frank Corsaro||Putski|
|Three Players of a Summer Game ||Tennessee Williams||White Barn Theatre||Henry Hewes||NA (as Peg Feury)|
|The Man With the Golden Arm||Jack Kirkland||Cherry Lane Theatre||Louis MacMillan||Zosh|
|Volpone ||Ben Jonson
Stefan Zweig - Adaptation
|Boston Summer Theater
New England Mutual Hall
|Picnic ||William Inge||Coconut Grove Playhouse||Albert Lipton||NA|
|The Innocents ||William Archibald
Henry James - Novel
Alex North - Music
|Gramercy Arts Theatre||Harvey Cort||Miss Giddens|
|Sweet Bird of Youth ||Tennessee Williams||Gateway Playhouse||David Sheldon||Alexandra Del Lago, the Princess Kosmonopolis (as Peg Feury)|
|The Lady of the Camellias||Giles Cooper
Adaptation - Terrence McNally
Novel - Alexandre Dumas, fils
Music - Ned Rorem
|Winter Garden Theater||Franco Zeffirelli||Jeanne|
|Antony and Cleopatra||William Shakespeare
Music - David Amram
|New York Shakespeare Festival
|The Three Sisters||Anton Chekhov
Randall Jarrell - English version
|The Actors Studio Theatre
|Lee Strasberg||Olga (Replacement for Geraldine Page)|
|Drums in the Night||Bertolt Brecht
Translation - Frank Jones
|Circle in the Square Downtown||Theodore Mann||Emily Balicke|
|The Exercise||Lewis John Carlino||John Golden Theatre||Alfred Ryder||The Actress (Standby for Anne Jackson)|
|La boheme ||Libretto - Luigi Illica and Giuseppe Giacosa
Music - Giacomo Puccini
|Lyric Opera Assn. of Orange County
|Peggy Feury||Directed by|
|Old Man ||Horton Foote - adaptation
William Faulkner - Story
|Loft Studio Theatre (in Los Angeles)||Peggy Feury||Directed by|
|Totem Pole (World Premiere)||Paul Smith||Los Angeles Actors' Theater||Gennaro Montanino||Mrs. Goss|
|The Man Who Climbed the Pecan Trees (World Premiere)||Horton Foote||Loft Studio Theatre (in Los Angeles, CA)||William Traylor||Mrs. Campbell|
|Blind Date (World Premiere)||Horton Foote||Loft Studio Theatre (in Los Angeles, CA)||Peggy Feury||Directed by|
|Cousins (World Premiere)||Horton Foote||Loft Studio (in Los Angeles, CA)||William Traylor
|Corella Davenport (and Directed by)|
- Peterson first came to prominence in 1953 with the production of his play, the coming-of-age tale, Take a Giant Step. Peterson would go on to write scripts for TV and film.
- Abramowitz, Rachel. "Don't Get Him Started". Los Angeles Times. 6 January 2002.
- Parker, Sachi. Lucky Me: My Life With--and Without--My Mom, Shirley MacLaine. Penguin (2013) ISBN 9781101616567
- Robinson, Ken; Aronica, Lou (2009). The Element: How Finding Your Passion Changes Everything. New York: Penguin Group. p. 77. ISBN 978-0-141-91125-0.
- Blitz, Michael. Krasniewicz, Louise. Johnny Depp: A Biography. Greenwood Publishing Group (2007) Page 20. ISBN 9780313343001
- Burstyn, Ellen. Lessons in Becoming Myself
- DiMarco, Damon. The Quotable Actor: 1001 Pearls of Wisdom from Actors Talking About Acting. Santa Monica Press. (2009) Page 133. ISBN 978-1-59580-044-2
- "Vonetta McGee: 'I always felt a false sense of security'". The Los Angeles Times. May 6, 1979. p. 33. "She has been a student of Peggy Feury for three years. 'I keep busy in my classes. When I started in films, I didn't really know what I was doing, though it was fun. I now understand the art.'"
- Entertainment Makers: Louis Cameron Gossett, Jr.. The History Makers.
- "James Cromwell's Declaration of an Independent". MovieMaker.
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- 1940 U.S. Federal Population Census
- Vilga, Edward. Acting Now: Conversations on Craft and Career. Rutgers University Press (1997) page 202. ISBN 9780813524030
- "Peggy Feury". New York Times. 26 November 1985
- Gussow, Mel. "Louis Peterson, 76, Playwright Who Opened Doors for Blacks" The New York Times. 1 May 1998.
- Nelson, Emmanuel Sampath. African American Dramatists: An A-to-Z Guide Greenwood Publishing Group (2004). Page 350. ISBN 9780313322334
- Tallmer, Jerry. "Theatre: Entertaining a Ghost". Village Voice. April 19, 1962.
- The New York Times Theater Reviews, Volume 7: 1960 - 1966. New York: Arno Press and the New York Times. 1966. p. 167.
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- Francis, Bob. The Billboard. February 10, 1951. "Broadway Openings: Peer Gynt"
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- "Murder is a Face I Know". The Naked City. (1961)
- "Murder is a Face I Know". The Naked City. (1961)
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- "Wednesday Television Programs: Evening". The Pittsburgh Press. 22 November 1961.
- "'Visions' Series Begins New Season". The Lakeland Ledger. October 2, 1977.
- Wolcott, James. "Impaired Visions". The Village Voice. October, 1977.
- McNally, Owen. "TV: New 'Iowa' Taps Roots Theme". The Hartford Courant. October 1, 1977. "No doubt 'Iowa' is far superior to most TV fare. But 'Visions' isn't to be judged by that sort of pathetic measure. The Peabody-Award-winning series has to be judged by its own very high standards of excellence."
- McNally, Owen. "TV: New 'Iowa' Taps Roots Theme". The Hartford Courant. October 1, 1977. "By far the best acting performance is turned in by Peggy Feury as the grandmother. She makes the old woman's recollections of Iowa credible and displays a fine, irascible edge whenever she comes on strong like a harridan or a Hamlet feigning madness."
- Henry 3rd, William A.. "'Iowa' Play Leads Series". The Boston Globe. October 1, 1977. "If, as Yeats once suggested, every play is written for the sake of a single scene, 'Iowa' was written for the tender scene between a sensitive girl recovering from a breakdown and her tough, addled grandmother. The old woman veers from family feeling to suspicion to self-absorbed recollection of her girlhood - recollection from which the granddaughter somehow draws a sense of her own continuity and place. [...] The performances, however, are remarkable, particularly by Carol Fox as the girl and Peggy Feury as the grandmother."
- Smith, Cecil. "Dramas Mark the Greene-ing of Sunday Eve". The Los Angeles Times. September 28, 1977. pp. "Under Rick Benewitz's direction, it is performed with an almost effortless grace, most memorably in the fury of Peggy Feury. [...] Grandma's not dead; she's been moved to a rest home, where she lives amid other blank-eyed old people waiting for death. She's played with marvelous ferocity by Peggy Feury, a snarling whirlwind of an old woman with an Irish brogue in a wheelchair, hiding the chocolates she lives on under her shawl."
- Watson, Charles S. (2003). "The Orphans' Home Cycle, Part 2". Horton Foote: A Literary Biography. Austin, TX: University of Texas Press. p. 189. ISBN 0-292-79160-7.
- Images of Peggy Feury on the set of 1918. SMU Central University Libraries: Horton Foote Photographs and Manuscripts.
- "'1918 (1985)': Full Acting Credits". The New York Times.
- Canby, Vincent. "Margot Kidder in 'Heartaches'". The New York Times. 19 November 1982.
- Albright, Brian. "New Jersey". Regional Horror Films, 1958–1990: A State-by-State Guide with Interviews. Jefferson, NC: McFarland & Company. p. 239. ISBN 978-0-7864-7227-7.
- Thrower, Stephen (2007). Growing Pains: John Ballard on the making of Friday the 13th: The Orphan. Nightmare USA: The Untold Story of the Independents. Godalming: FAB Press. p. 300. ISBN 978-1903254462.
- Strasberg, John. Accidentally on Purpose: Reflections on Life, Acting, and the Nine Natural Laws of Creativity. Hal Leonard Corporation (1999) page 65. ISBN 9781557833587
- Van Horne, Janice. A Complicated Marriage: My Life with Clement Greenberg. Counterpoint (2013) Page 212. ISBN 9781619021570
- Oakley, James. "Susan Traylor's LA Story". Interview Magazine. July 11, 2012. "So after my dad came to Los Angeles, Lee suggested she go out too, because he wanted to open a teaching studio there. She brought us out and surprised my dad. [...] It was Christmastime, and we were so sad because there was no snow. My sister and I took soap and put it all over the Christmas tree. Susan Strasberg was living in the Colony, but she was going to Italy to make a movie, so she let us stay in her house while she was away." See also:
- Strasberg, Susan. "Part Four". Bittersweet. New York: G.P. Putnam's Sons. pp. 250-251. ISBN 0-399-12447-0. "When I returned to Los Angeles, I found a home in Malibu Colony, a private group of about seventy-five houses. [...] No sooner had we settled into this paradise than I was offered not one but two films in Europe; one to be shot in Italy, the other in France. [...] Two old friends, Peggy and Bill Trayler [sic], had decided to come to California with their daughters, Susan and Stephanie. They needed a place to stay, so I sublet my home to them. [...] The film, The Sisters, was about two siblings, very melodramatic and Italian, but I enjoyed the work in spite of the plot."
- 'La Sorelle' Release Info: Also Known As". IMDb.
- "Actors and Directors Lab Announces Its New Summer Schedule". The Los Angeles Times. July 27, 1969.
- "Strasberg to Evaluate Drama Problems". The Upland News. June 15, 1972.
- Kelly, Richard T. (2005). Sean Penn: His Life and Times. Canongate U.S. ISBN 9781841957395 (2005) page 59.
- Lahr, John. "Citizen Penn: The many missions of Sean Penn". The New Yorker. April 3, 2006.
- Kelly, Richard T. Sean Penn: His Life and Times. Canongate U.S. ISBN 9781841957395 (2005) page 60.
- Huston, Anjelica. "The Big Fabulous". Vanity Fair. December 2014. "Eventually I began working with Peggy Feury, of the Loft Studio. I was, at 30, the oldest person in her novice class. For the next couple of years, every day, five days a week, I drove from my house to her studio on La Brea."
- Huston, Anjelica. Watch Me: A Memoir. Simon and Schuster (2014). p. 128–129. ISBN 9781476760353.
- "Stone and Others Talk 'Scarface': Article in December Issue of 'Playboy' Covers the Making of De Palma Classic". De Palma a la Mod. December 8, 2011. "[Steven] Bauer says, De Palma 'made Michelle feel like a scared, lonely little girl in a world of men. He did the right thing, but it was hard to watch. That poor girl was always alone, always on edge, very vulnerable, brave but alone in her performance. She lived on the phone with her acting coach Peggy Feury. She needed some kind of lifeline.'"
- Tomlin, Lily. "‘People Would Look at Me … Horror-Stricken’". wowOwow. June 11, 2008. "[A]t the end I had begun studying with Peggy Feury who was a studio actress who had come out to the West Coast to found the West Coast chapter of The Studio. She and I were in “All of Me” together, and we just became great friends. And I was sort of possessive of her; I could hire her privately and she would work with me and we became like girlfriends. And then I’d feel so self-conscious and pig-like when I’d see her in class sometimes, because I felt like I was so close to her. And everybody revered her. They adored her."
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- . .
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Cast: Norma Talmadge Greenwald - Peg Feury, Mrs. Greenwald - Molly Picon, Alfred Greenwald - Jacob Kalich, Jackie Coogan Greenwald - Mark Rydell, Becky Moscowitz - Dolores Sutton, Tessie Moskowitz - Dorie Warren, Mrs. Moskowitz - Anna Appel
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In the summer of 1954, A Hatful of Rain was presented at the Studio for five performances.
- Calta, Louis. "RIDGEFIELD WINS GRANT FOR PLAYS; Chicago Author Garners First Annual $1,000 Prize Offered by American Productions". The New York Times. February 8, 1955. "The script had its beginnings with the Actors Studio, which presented it for five performances with a cast including Mr. Gazzara, Frank Silvera, Paul Richards, Peggy Feury, Anthony Franciosa, Carroll Baker and Henry Silva.."
- Lyons, Leonard. "The Lyons Den". The Reading Eagle. March 11, 1958. "'A Hatful of Rain' was done originally at the Actors Studio, with Carroll Baker playing the wife."
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- Durgin, Cyrus. "Boston Summer Theater: 'Volpone' Romping Fun". The Boston Daily Globe. July 9, 1957.
- "'Picnic' Time: Granger and Sandra Church at Coconut Grove Playhouse; Supporting Cast". The Miami News. March 16, 1958.
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- Original playbill. GatewayPlayhouse.com.
- "Lyric Opera Assn. Will Open Season on Friday"
- Cast for the Woodland Hills Community Theatre's production of Horton Foote's 'The Chase'. WVPlayhouse.com. "His association with playwright Horton Foote goes back to the mid seventies when he appeared in a special adaptation of William Faulkner’s short story Old Man that Mr. Foote reworked from his own Playhouse 90 TV Screenplay of the same title. The local production was produced at the Loft Studio under the direction of legendary acting teacher, the late Peggy Feury."
- Drake, Syvie. "'Totem Pole' at L.A. Actors' Theater". The Los Angeles Times. June 18, 1980.
- Christon, Lawrence. "Writer Who Takes Work Home". The Los Angeles Times. April 3, 1984.
- Sullivan, Dan. "Stage Review". The Los Angeles Times. April 17, 1984.
- "Experimental Studio Theatre Announces Weekend Sessions in Acting". The Montreal Gazette. September 23, 1958.
- "New Teacher for Actors Engaged". The Montreal Gazette. September 24, 1958.
- "Strasberg to Evaluate Drama Problems". The Upland News. June 1, 1972.
- "'Visions' Series Begins New Season". The Lakeland Ledger. October 2, 1977.
- Associated Press. "Teacher Dies". The Albany Herald. November 24, 1985.
- Maxwell, Bea. "Video Will Feature D.C. Orchestra". The Los Angeles Times. April 26, 1990.
- Lally, Michael (1999). "Lost Angels" (for Peggy Feury). It's Not Nostalgia: Poetry & Prose. Santa Rosa, CA: Black Sparrow Press. pp. 149–154. ISBN 1-57423-113-8.
- Kelly, Richard T. (2004). "1978–1981". Sean Penn: His Life and Times. London: Faber and Faber, Limited. pp. 59–61. ISBN 1-84195-739-9.
- Pascoe, Judd. "Letter to my acting teacher". JustAddFather.com. August 28, 2011.
- Oakley, James. "Susan Traylor's LA Story". Interview Magazine. July 11, 2012.
- Peggy Feury at the University of Wisconsin's Actors Studio audio collection, 1956–1969
- Peggy Feury at the Internet Off-Broadway Database
- Peggy Feury at the Internet Broadway Database
- Peggy Feury on IMDb
- Peggy Feury at SMU Central University Libraries' collection: Horton Foote Photographs and Manuscripts