[2] She gained experience painting scenery for the Little Revues of Herbert Farjeon, leading the writer and friend Nicholas Stuart Gray and her aunt to persuade her to leave home and become independent.
Two years later, Tyrone Guthrie invited Farjeon to design for him at Liverpool Playhouse until callup papers meant she worked on land in Ditchling, Sussex.
[1] Later West End plays Farjeon was an illustrator were Beauty and the Beast in 1950,[3] Agatha Christie's The Hollow in 1951,[2] The Princess and the Swineherd in 1952, the puppet play Rapunzel in 1953,[3] Peter Hall's 1953 production of Henry IV at the Arts Theatre,[1] 1954's The Hunters and the Henwife and The Marvellous Story of Puss in Boots, The Imperial Nightingale and New Clothes for the Emperor adapted from Hans Christian Andersen in 1957, The Other Cinderella in 1958,[3] Christie's Verdict that same year at the Strand Theatre and Lock Up Your Daughters at the Mermaid Theatre in 1959.
[3] In 1968, Farjeon was made resident designer at the Webber Douglas School of Dramatic Art, producing productions in the Chanticleer Theatre through the 1990s.
[1][2] Anne Harvey of The Independent wrote of Farjeon, "She was recognised throughout her working life as an exceptional craftswoman, with a sharp, true eye for fine detail and accuracy and an enviable gift for draughtsmanship.