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Edgar Plays: 3
"David Edgar, like Balzac, seems to be the secretary for our times." - The Guardian This third collection of plays by David Edgar includes Our Own People, Teendreams, Maydays and That Summer, encompassing some of his best work from the late 1970s and early 80s, and demonstrating the range of one of Britain's major political playwrights. Our Own People: "A courageous and intelligent discussion of race and industrial relations." - City Limits Teendreams (written with Susan Todd of Monstrous Regiment theatre company) is about the failed revolutionary dreams of a set of teenagers. Maydays compares the phenomenon of post-war social rebellion from Western and Eastern perspectives. That Summer is an "elegantly tangential treatment of the 1984 miners' strike" (Plays and Players). "Edgar never lets his drama simplify into ideological diagram ... This elegant, humane play keeps its emphasis on the ... results that can ensue when diverse lives briefly brush against each other." (Independent)
Edgar Plays: 2
"David Edgar, like Balzac, seems to be the secretary for our times." - The Guardian This selection of David Edgar's dramatic work features three plays: Ecclesiastes, a late 1970s radio play; his acclaimed stage version of Nicholas Nickleby; and Entertaining Strangers, an English left-wing social drama. Ecclesiastes is a radio play that looks at the rise and fall of a "fundamentalist" Christian clergyman in the US. Nicholas Nickleby: "With uncommon audacity Nicholas Nickleby not only takes on Dickens' sprawling novel, it fractures all the petty limitations we have imposed upon the stage as well ... A landmark." - New Statesman In Entertaining Strangers, a community constructs a nativity play: "English left-wing social drama at its sturdiest and finest: human, argumentative, utterly unafraid of human realities, and seething with indignation and compassion." - The Sunday Times
David Edgar
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Edgar Plays: 1
This volume contains the best of David Edgar's work from the seventies The Jail Diary of Albie Sachs is an adaptation of the famous South African writer's diaries and deals with solitary confinement and loneliness - "a remarkable, persuasive picture." (Observer); Mary Barnes is based in a commune in the sixties and focuses on schizophrenia "promulgating the theory that schizophrenia can be effectively treated through behaviourist methods alone"; Saigon Rose tackles venereal disease and is "intriguing and entertaining...Edgar handles his themes - loss of innocence and a sense of betrayal - in a bitty, playful style laced with black comedy" (Independent); Oh Fair Jerusalem deals with the black death and Destiny deals with the loss of Empire and the rise of fascism in contemporary Britain "A play which astonished me with its intelligence, density, sympathy and finely controlled anger." Dennis Potter (Sunday Times).
Edgar Plays: 2
"David Edgar, like Balzac, seems to be the secretary for our times." - The Guardian This selection of David Edgar's dramatic work features three plays: Ecclesiastes, a late 1970s radio play; his acclaimed stage version of Nicholas Nickleby; and Entertaining Strangers, an English left-wing social drama. Ecclesiastes is a radio play that looks at the rise and fall of a "fundamentalist" Christian clergyman in the US. Nicholas Nickleby: "With uncommon audacity Nicholas Nickleby not only takes on Dickens' sprawling novel, it fractures all the petty limitations we have imposed upon the stage as well ... A landmark." - New Statesman In Entertaining Strangers, a community constructs a nativity play: "English left-wing social drama at its sturdiest and finest: human, argumentative, utterly unafraid of human realities, and seething with indignation and compassion." - The Sunday Times
Edgar Plays: 2
"David Edgar, like Balzac, seems to be the secretary for our times." - The Guardian This selection of David Edgar's dramatic work features three plays: Ecclesiastes, a late 1970s radio play; his acclaimed stage version of Nicholas Nickleby; and Entertaining Strangers, an English left-wing social drama. Ecclesiastes is a radio play that looks at the rise and fall of a "fundamentalist" Christian clergyman in the US. Nicholas Nickleby: "With uncommon audacity Nicholas Nickleby not only takes on Dickens' sprawling novel, it fractures all the petty limitations we have imposed upon the stage as well ... A landmark." - New Statesman In Entertaining Strangers, a community constructs a nativity play: "English left-wing social drama at its sturdiest and finest: human, argumentative, utterly unafraid of human realities, and seething with indignation and compassion." - The Sunday Times
The Shape of the Table
1989. An Eastern Bloc government on the brink of collapse. As the old regime retreats, former political prisoners join banned writers around the negotiating table... The Shape of the Table is part of David Edgar's post-Cold War trilogy of plays, which also includes Pentecost and The Prisoner's Dilemma. Witty and informative, this play is both an intensely topical account of what actually went on in the corridors of power and a timeless analysis of revolution in action. In particular the play explores not only the challenge of seizing power, but also the difficulty of relinquishing it. The Shape of the Table was first performed at the National Theatre, London, in 1990.
A Study Guide for David Edgar's "Life and Adventures of Nicholas Nickelby"
A Study Guide for David Edgar's "Life and Adventures of Nicholas Nickelby," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.
David Edgar, Playwright and Politician
David Edgar: Playwright and Politician examines the British dramatist's forty stage plays written between 1971 and 1983, effectively providing a minihistory of Britain's sociopolitical climate since World War II and of Britain's post-1968 political theatre movement, with its various methods and changing venues. Swain discusses Edgar's use of dramatic form, his subject matter and his political viewpoint in order to examine different approaches to political playwriting, ranging from the blatant didacticism of agitprop to the subtler mimesis of social realism. Particular attention is given to Edgar's landmark plays, Destiny and Maydays, both produced by the Royal Shakespeare Company. A chapter is also devoted to Edgar's widely performed adaptations, The Jail Diary of Albie Sachs, Mary Barnes and Nicholas Nickleby.
