Biography
David Edgar, born to a theatrical family in Birmingham, England in 1948, has dedicated his life to the world of drama. His early fascination with theater, ignited when he saw his first play at the tender age of four, developed into a lifelong passion and career. Known for his politically charged works, Edgar has consistently woven social and political themes into his plays, earning him recognition and accolades.
Early Years and Education
Growing up in a theatrical family, Edgar was introduced to the arts at a young age. By ten, he had already penned "The Life and Times of William Shakespeare." His secondary education at Oundle School saw him deeply involved in theater, where he took on multiple roles including actor, designer, and director, while also editing the school’s poetry magazine. His academic journey continued at Manchester University, where drama became his major focus. There, he wrote and directed "The Author," participated actively in student politics as chair of the Socialist Society, and edited the student newspaper.
Professional Beginnings
After graduating in 1969, Edgar worked as a reporter for the Bradford Telegraph and Argus for three years. It was during his time in Bradford that he met Chris Parr, a student at Bradford University, who commissioned Edgar's first play, Two Kinds of Angel. A fervent supporter of the theater, Parr's encouragement propelled Edgar into writing more, resulting in eighteen produced plays during this period. Four of these were agitprop pieces created for the General Will company, a group formed by students from Bradford. This success enabled Edgar to transition to writing full-time, joining forces with contemporaries like David Hare to develop England’s Ireland.
Theatre Writers’ Union and Further Success
In 1975, Edgar co-founded the Theatre Writers’ Union, solidifying his presence in the theater world. The following year, his play Destiny, a political narrative opposing fascism, was staged by the prestigious Royal Shakespeare Company and subsequently won the John Whiting Award. Edgar followed this triumph with a series of leftist plays, including Our Own People, The Jail Diary of Albie Sachs, Mary Barnes, and Teendreams, the latter focusing on women's political engagement. His essay “Ten Years of Political Theatre, 1968-1978” became a definitive account of that transformative era in British theater. Edgar spent 1979 in the United States on a Bicentennial Fellowship, and during this time, he married Eve Brook, a university lecturer.
1980s: Political Themes and Accolades
The 1980s saw Edgar deeply engaged in both politics and theater. He joined the Labour Party and served as a literary adviser to the Royal Shakespeare Society. His foray into screenwriting led to the creation of Lady Jane. In recognition of his contributions, he received an honorary M.A. from Bradford University and founded the first master's degree course in playwriting in England at Birmingham University. Edgar continued to write plays focusing on the impact of Thatcherism, such as his adaptation of Nicholas Nickleby, which was lauded with awards in both the UK and the US. His political drama Maydays was heralded as the best play of 1983, with other works like Entertaining Strangers, That Summer, Heartlanders, and Vote for Them for BBC Television, further cementing his reputation.
Recognition and Changing Focus
The 1990s brought more recognition. Edgar was awarded an honorary fellowship at Birmingham Polytechnic, became chair of the Theatre Writers’ Union in 1991, and was appointed honorary professor in the performance studies school at Birmingham University in 1992. He also received an honorary doctorate from Surrey University. His work began to explore global political themes, as seen in The Shape...
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of the Table, which focused on the 1989 Romanian revolution. Pentecost, set in an unnamed Eastern European country, delved into the uncertain futures of post-Communist states, employing a rich tapestry of languages to highlight cultural diversity.
New Directions in the 21st Century
In his later works, Edgar turned his attention to American politics with Buying a Landslide, critiquing the Republican Party. His commitment to political themes persisted into the 21st century with plays such as Albert Speer and The Prisoner’s Dilemma. Over the years, Edgar’s political stance has evolved from activist fervor to a more observational approach, reflecting his complex understanding of political landscapes. His journey through decades of theatrical and political exploration remains a testament to his enduring passion and influence in the world of drama.