Joining the Old Vic company in London for the 1960−61 season, Watford began with the title role in Friedrich Schiller's Mary Stuart, which she had played at the Bristol Old Vic earlier in the year. Her next role with the London company was Titania in A Midsummer Night's Dream to the Oberon of Alec McCowen; The Times thought her "enchanting", but the cast won higher praise than the production, which was thought prosaic. Her third and final role in the Old Vic season was Lady Percy in Henry IV, Part 1. Theatre critics expressed hopes that she might be seen more often on stage in addition to her numerous television roles, but another five years elapsed before she appeared again in a London theatre. 1961–1970 Throughout the decade Watford appeared continually on television in one-off new dramas, series and adaptations of classics. In the last of these categories she starred as Elizabeth Moulton-Barrett in The Barretts of Wimpole Street, Lettice in Broome Stages and Lea Markat in Somerset Maugham's The Alien Corn. In one-off dramas she appeared in many episodes of Armchair Theatre, ITV Sunday Night Theatre and ITV Play of the Week; in the BBC's The Wednesday Play slot, she played Monica in David Mercer's Let's Murder Vivaldi. She was again named as best television actress by the Society of Film and Television Arts in 1966. In addition to her television performances, Watford was frequently heard on BBC radio in the 1960s; her many roles included Marya Pavlovna in Turgenev's A Quiet Backwater, Sibyl Railton-Bell in Separate Tables, the title role in Ann Veronica, Angèle in Feydeau's farce A Close Shave, and Isabelle Rimbaud in Hampton's Total Eclipse. For the cinema she played supporting roles in The Very Edge, Cleopatra (both 1963) and Valley of the Kings (1964), and had a leading part in Do You Know This Voice? (1964). Watford was seen on the London stage in three productions during the decade. In June 1966 at the Royal Court Theatre, and later the Comedy Theatre, she played Mrs Evans in "When Did You Last See My Mother?" by Christopher Hampton. The delicacy of her performance as the mother in a triangular relationship with her gay son's partner caused the critic J. C. Trewin to "congratulat[e] Miss Watford on the really moving restraint of a portrait that makes the night worth while". She recreated the role the following year