Produced by Opera Close Up at The Kings Head, Islington, London
September and October 2011
Presented by White Bear Theatre
Baudelaire, a young dandy who’s just inherited a fortune, meets Jeanne
Duval an actress/whore he’s admired voyeuristically. He wants her but
is unable to give her the sex that would prove to her that she’s his,
so they make a contract in which he agrees to finance her life in order
to possess her.
Ancelle, the Baudelaire family solicitor discovers that Baudelaire is having
an affair with – as far as he’s concerned a “nigger” and, convinced that she’ll
use up the money convinces Baudelaire’s mother that they should apply to the
Court to have Baudelaire’s inheritance from him and the money, instead, doled
out in small amounts. The mother, secretly in love with Ancelle, agrees to this
arrangement. Thus begins an enormous struggle between Ancelle’s essentially capitalistic
view of the world and Baudelaire’s poetic one which brings tragedy for Baudelaire.
Baudelaire who has idolised Ancelle believes when he hears that Ancelle will
be responsible for the doling out of his money, that Ancelle will be sympathtic.
So B. trusts the manufacturer of his despair. A despair which leads to violent
recriminations against Jeanne and failure in his poetry and her subsequent hatred
of his impotence. This culminates in his rape of Jeanne and acts of petty embezzlement
against his own inheritance.
At his most miserable he discovers that he is to be prosecuted for six poems
which have appeared in his one collection Les Fleurs du Mal and he believes,
perversely, that the notoriety he is bound to realise will make him rich and
solve all his problems. Instead, under pressure to preserve the respect of the
family name he writes to the Empress asking for clemency, denies the six poems
and seals his fate.
Winter is a story of things killed and died for: a Western intellectual
returns home having interfered in a foreign revolution, leaving a bloody
mess behind; a disaffected youth just out of prison discovers the fine
line between belonging and escaping; a refugee suffers the secrets of
I believe that wars are fuelled by the vanity of leaders. No matter
how much they believe in their cause or how much good they think they
do, their vanity determines that they will ultimately do the wrong
thing. It’s not for any man to declare any measure of saintliness for
himself. This is the template for Walker.
The good person is the humble refugee Smerdyakov who is doomed by
his goodness to bear the cross he is bound to invent. Other characters
try to find truth in the confusion created by Walker; limited by their
humanness they become obsessive and are driven to conclusions like
Luke’s that in the end only the terrorist will be Good.
One of my revisited themes is the notion of eviction and the idea
that normal society evicts the passionate and the truth seekers. Smerdyakov
dies because he is a truth seeker; a refugee arrived in an indecent
world, one determined by Walker’s vanity.
Astrakhan (Winter) is published in the book 'Astrakhan
(Winter) and Other Works'
Written with composer Keith Burstein (www.keithburtsein.co.uk)
Manifest Destiny is an opera that looks at the “war on terror” primarily
from the point of view of a suicide bomber, Leila.
The opera follows a post 9/11 love affair between a Jewish composer
and Leila Muslim poet and features the US President among it’s cast
The 30 minute first act , which moves between London and the Middle
East, was presented as a concert performance with piano and singers
at The Cockpit Theatre in Marylebone on Saturday November 22nd .
Manifest Destiny is published in the book 'Astrakhan
(Winter) and Other Works'
Presented by Spectacle Theatre
Julie is fifteen. She’s come to a room in a desolate Merthyr to abort
her pregnancy. pregnant Julie looks out and sees Michael, the young
man responsible for her condition. In the street a lonely saxophone plays
except she knows that the music isn’t there – it belongs not to distance
but time past. though they are only a street apart, they will never
From the hollow of her lonely night, she tries to understand why her
mother told her the terrible lie that seems so responsible for her
During the course of the play, time implodes and distant tragedies
have their meaning revealed.
pic © terry morgan
Produced by Script Cymru , and presented at Chapter Arts Centre,
Cardiff in April 2002
Read 'In Search of Franco' , Dic Edward's
notes and diary on the process of getting Franco's Bastard onto paper
and on to the stage. "
began on that night in the early seventies when Cayo smashed a
bottle on my head before a henchman called Osborn broke my jaw
with a hammer. And on that night, not only was this play born but
I became a dramatist."
Drawing on personal experience of Julian Cayo Evans, self-styled leader
of the Free Wales Army, Franco’s Bastard is a richly written and very
funny play looking at the absurdities of nationalism through the eyes
of Carlo – a romantic fascist who believes himself to be the illegitimate
son of General Franco and “a horse owner and citizen of Rome.”
While dreaming of the day when a new Wales will dawn, Carlo Francisco
Franco Lloyd Hughes’s “project” goes strangely awry, when he falls in
love with a mixed-race woman from Cardiff and meets a playboy called
Ben, who murdered his boss with a frozen fish
"CARDIFF isn't really Wales - it's a place all to itself." It's
precisely this attitude - casually aired by the cab driver taking me
to the city's Chapter Arts Centre - that enrages Carlo, the fascistic
Welsh nation-builder at the heart of Dic Evans's coarsely enjoyable,
controversy-stirring satire Franco's Bastard.
as an illegitimate son of the Spanish dictator, Carlo is disgusted as
much by the political apathy of his fellow Welshmen as he is by the
imperialist English, whose accursed influence he wishes to scrub out
by military means. Imagine his joy, then, when he is introduced to a
young man called Ben, who, he is told, has fled his job in a Cardiff
fish suppliers' after decapitating his English boss with a three-foot
frozen salmon. "I love this boy!" he exclaims.
Carlo is modelled quite openly on Julian Cayo Evans, the self-styled
leader of the Free Wales Army, whose minor-league terrorist activities
resulted in an 18-month prison sentence in 1969, timed, so it was said,
to coincide with Prince Charles's investiture.
Given that Evans died in 1995, you could say that Edwards, who knew
the man, has left it rather late to lampoon his pretensions. Certainly,
you need to know more than the programme notes tell you to get all the
references: like Evans, James Coombes's Carlo struts around a rustic
mansion to martial music, wears a green tunic (claimed to be Franco's)
and a bandana, and talks fondly of the Appaloosa horses he breeds out
Even if some of the jokes are recondite, no audience member should
have difficulty recognising the contentious relevance of the material,
which identifies and sends up Welsh insecurities to the hilt, while
sounding a loud warning shot about attempted remedies. Carlo's insistence
that "the only way you can convince the English of democratic values
is by bombing them" has an all-too-contemporary simple-mindedness,
while recent reports that the BNP is setting up a Welsh branch find
their correlative in Carlo's inability to work out how his Jamaican
lover (Karin Diamond) fits into his vision of a new Wales.
Admittedly, the play's structure is more ramshackle than an abandoned
colliery, but Simon Harris's perky production for Sgript Cymru embraces
its slapdash charm. James Coombes - a camply preening Carlo - with Shane
Attwooll as his psychotic sidekick, Seon, and Adam Randall as the reluctant
insurgent Ben, are certain to raise smiles and not a few hackles.
reviewed by Dominic Cavendish, The Daily Telegraph April 16 2002
Produced by Spectacle Theatre, Autumn 2001 and toured Wales
It has been an unpredictably fruitful creative relationship, this unlikely
pairing of playwright Dic Edwards and Glamorgan-based YPT company Spectacle
Theatre. Edwards, after all, is an irredeemably cerebral writer, as
unrelenting as his mentor Edward Bond, while Spectacle offer a service
to young people that is of necessity accessible and immediately relevant.
The likelihood of the author of Wittgenstein's Daughter, Regan and Utah
Blue, sprawling complex philosophical tracts each, targeting primary
schoolchildren seemed unlikely. But it has worked for some while now.
I hesitate to hazard a guess as to how much this is due to the perseverance
of director Steve Davis and the commitment of the company but I do suspect
that Into the East as produced to rapt young audiences may be some way
down the line from any original Edwards script. This is, of course,
a perfectly proper process and, it seems to me, does result in the company
having to work extra hard to find points of contact which creates an
urgency wrought out of real struggle - it has been there in several
of these collaborations, from Kid to Antigone Now.
The East, as you might expect, does not opt for a safe subject or easy
themes and while some adults may be familiar with the context it’s not
a story young people are likely to know. Set in the Czech Jewish ghetto
of Terezin, a transit camp prior to transportation to Auschwitz, it’s
based on the story of the creation of the children’s opera Brundibar
by Hans Kraza, composed in 1938 but performed in Terezin during World
War II. We follow the narrative of two children inspired by a new arrival
to find hope - sort of, since Edwards’s script is a twisting and turning
debate about truth and knowledge, hope and despair, change and defeat,
idealism and realism.
Those debates are engaged with according to the competence of the audience,
of course, and one can see how the play could have started life as a
sophisticated post-modern battle involving the forces of existentialism,
Marxism, pragmatism and so on, fought in the light of hindsight - adults
would know that these characters do end up in Auschwitz - but the opera
does get performed (it was actually produced 55 times in Terezin, despite
its blatant anti-Nazi allegorical plot). What’s particularly remarkable
about Into the East is that it speaks to a wide age range: I saw it
at a secondary school in Bargoed, where potentially noisome teenagers
looked utterly engaged, but the company say that responses in primary
schools have been equally rewarding - and possibly more so in regards
to the feedback sessions after the show.
I guess that’s because the combined forces of playwright and company
produce something that works on many levels - from the relationship
between siblings and the role of authority figures to the more vexed
issues of whether it is better to know the truth or to dream. The dramatic
irony - where the audience knows what is to happen while the characters
do not - can be appreciated only by those who know their history but
that question of whether to go along with a noble lie or accept a presumed
inevitable fate was a cornerstone of philosophic enquiry until post-modern
scepticism. One interesting facet of this production is how that conundrum
is allowed to bubble away on an intellectual level while a very human
drama is played out by the actors.
While appreciating the theatrical juggling Steve Davis achieves to
keep all those balls in the air, I did find some aspects seriously problematic,
especially those created around the saviour figure (played with lively
charm by Huw Davies) who may well have worked in a longer piece but
in a short slice of naturalism strikes me as too artificial, as was
the dramatic metaphor of the near-death and transformation of the children’s
music teacher (a role which ultimately even the valiant and experienced
Brendan Charleson could not really bring off). Gwenfair Vaughan Jones
and Gwion Huw explored the sister-brother relationship with subtlety
and welcome credibility.
Guy O’Connell’s set design, with a floor consisting of photographs
in the shape of the Star of David, may also have been clever but I suspect
needed pointing out to audiences - quite literally in many performance
spaces in schools, where poor sight lines mean that even the action
is difficult to follow, never mind the significance of the floorcloth.
reviewed by David Adams 9 November 2001
Antigone Now 
Produced by Spectacle Theatre in the Autumn of 2000 and toured Wales
Turning back not only to the words of past masters but to the structures
of older plays Edwards presents the family as the space of reproduction
and hence the site of struggle for what will come in the future. Unsurprisingly,
then, his protagonists are frequently women, his concerns social rather
than psychological. Perhaps this explains his fascination with abortive
births, with deformity and with people cast out or expelled from normality
(Alma Wittgenstein gives birth over the skeleton of the philosopher
who was not her father; Regan in the play of that name was born deformed,
the child in Low People is dumb; in Utah Blue , Gary Gilmore is impotent
when free from prison, an artist of death rather than life). His new
play, Antigone Now, draws on the Sophoclean pretext to address questions
of personal responsibility and compromise. Where parents have abdicated
their moral responsibilities, the children are bewildered and hurt and
the daughter, as in the classical paradigm, is left to decide moral
issues and to face the dark undercurrents that emerge violently into
the present from a repressed past. In Antigone Now the son first spoils
the exotic meal bought to celebrate his father's promotion to advertising
executive and then takes its place in a ghoulish sacrificial exchange.
The Greeks saw the conflictual relations of the individual to the family,
the state and the gods as the root of their drama and sought a resolution
of this conflict through tragedy. In Edwards' modern version, the conflict
is rendered absurd because, when the significance of the past is denied
and reduced to isolated and meaningless moments, there can be no progression
or development, no future. His Antigone Now investigates a world in
which the past has been reduced to the absurdity of a video of the mother
as beauty queen and sexual icon, while the present, outer comfort of
a family disintegrating from within rests on promoting the stupidity
of consumers who buy emptiness. It's a powerful play and it will be
interesting to see it staged this autumn.
Jeni Williams New Welsh Review No. 50
Forget that intimidating Antigone in the title. You need know nothing
of Greek mythology of Sophocles, Brecht or Anouilh to go through this
cathartic experience of this emotionally draining drama from playwright
This is very much a tale of today, set not a million miles from Spectacle
Theatre's Rhondda College base (the venue for this gala performance
during the production's tour), even if its does take as its source the
themes of family, guilt, respect, history, identity and power in the
A domineering, ambitious father with a dark secret, a finicky, self-obsessed
mum still living in the past, an irresponsible joy-riding son and a
conscientious schoolgirl daughter who just about hold the family together,
all find their lives changed one winter's evening.
Antigone Now! is a working class tragedy - a deliberate contradiction
in terms, since ordinary people don't usually experience tragedy in
the classical sense, tragedy being the stuff of heroes and nobles. That
conflict is at the core of this remarkable script, where Edwards not
only has an everyday family living out a Greek myth but has their speech
lurching from familiar conversation to high-flown lyricism as we are
shown how the mundane can be as affecting as the classic.
When this production, directed by Steve Davis, works well (as it did
in Llwynypia) the result is an intense, charged experience. At times
it can seem like an uneasy mix of issue-driven Theatre-in-Education
and timeless epic with no subtlety of character, but if you surrender
to the unusual meld of vernacular and classical then the committed cast
(Jeremi Cockram, Karen Wynne, Arwel Davies and Karin Diamond) will carry
you with them
.reviewed by David Adams
Spectacle Theatre Company, (Welsh Tour) 1999
Dic Edwards has created a sprawling great play, part pastiche, part
comedy, part ideological tract, part detective story, and collapsed
it [with help from director Steve Davis] into a little gem of a touring
show that this week provocatively plays in an around Thomas's Swansea
before heading east to Abergavenny [0n Friday] and Cardiff's Llanover
Hall [on Saturday].
It is, I think the first time Dic Edwards, a fine playwright has not
only written explicitly about Wales but actually addressed issues that
many of his contemporaries have lived off all their careers: cultural
identity, Welshness, the ambivalence of the Dylan heritage, secrets
and lies. Because Mr Pugh's escape first to the Mumbles and then to
the Bronx is both an attempt to exorcise the curse of being portrayed
as a murderer, itself a double bind since inevitably it is also a metaphor
for Wales trapped by its own mythology, and a voyage of self-discovery
Then of course, there was Spectacle Theatre with Dic Edwards's play
Over Milk Wood. Hardly anyone turned up the night I saw it in Swansea's
Dylan Thomas Centre (25/11/99): apparently it clashed with a production
of A Child's Christmas in Wales in the Grand. Yet it was mischievously
splendid. The play was an ironic love story with Huw Pugh, the would-be
wife-poisoner, fleeing Wales after the first transmission of Under Milk
Wood. Hidden behind a screen, a witch shadow-puppet figured the awful
wife, leaping about enraged until she fell to her death from the bed.
He meets his new wife on the boat to America: she's Irish but as soon
as they arrive at New York she gains a rasping American accent, throwing
away her past in her desire for a new identity. The figure of How Pugh,
attempting to escape from the prison house of Thomas's words, cannot
be free of his creator's voice. It invades his speech in delightful
parodies and takes over his days as he works in a Welsh gift shop in
New York, living in the Bronx. The third member of the cast swops identities
with bewildering and hugely amusing ease. His appearance as a mad housewife
(complete with lipstick and beard) is complemented by a wonderful appearance
as a Jewish stereotype complaining about the noise.
Uncomfortable moments disrupt the slapstick however: when Huw re-encounters
Sinead, ordering nineteen whiskies in the bar where Thomas drank eighteen,
and later, when he attacks his wife and the couple risk losing their
child. The echoes of Thomas and of Thomas's life (Irish wife, drunkenness,
the passion of language, a sense of entrapment) focus on the essential
interrelation of stories and life. No playwright in Wales can avoid
the shadow of Milk Wood,or the shadow of its poet - a shadow projected
onto the screen at this play's close while 'his' voice boomed out in
sonorous sorrow that he died too soon and had never meant to leave the
poisoning bit in, pleading majestically for readers to 'Shut the hook
and read the poems'
New Welsh Review
Spectacle Theatre, TIE Welsh Tour and N. Ireland, 1997
"intelligent, carefully crafted and outstandingly performed.Kid is
all about words, with a young boy who pretends he can't speak because
his father bullies him with words. Edwards plays, provokes and jokes
with language - but keeps his young (under-eights) audience enrapt with
a simplicity that is unexpected from a man whose successes include a
play called Wittgenstein's Daughterthis is good theatre for a purpose
and even more vital in an age of computers and deliberate deschooling
where verbal communication is too easily downgraded."
Spectacle Theatre Co. (Welsh Tour) 1996
"The best of the conventional plays was Dic Edwards' The Man
Who Gave His Foot For Love which depicts a comically murderous Latin
American reality, shrouded in crass superstition and the kind of myth
to which only we fallible mortals could possibly give credencethe song
lyrics are sometimes hauntigly poetic or rousing in the manner of Weil
or Eissler. The Stage-craft, implicit in the structure,
reveals the maturity of a writer who has synthesised plot, charcter,
language and music to create an absurd universe in which black humour
can flourish, weaving a disturbingly black spell around the audience,
even as they laugh."
New Welsh Review
Castaway Theatre Co. (National Tour) 1996
"Dic Edwards' plays are never easy but lola brecht has some very
funny moments, some sharp satire and plenty of evidence of a clever
mind at work."
"A black comedy which points as accusing and bloody finger at
sexual frustrations as the root of all evil.
As the civil war bubbles outside their hotel, it echoes the conflict
inside (Brecht's) head and in his bitching impotent marriage to Lola.
.to be congratulated.
"lola brecht is a good play with much to say about modern human
frustrationsThere is a delightful dream-scene where Napoleon makes love
with Lola and helps her give birth: to an array of weaponry! Excellent.
"The drama is often eased by comic touches - a wounded Peter
realises that he loves ex-nurse Lola "for her nursing skill and
knowledge of bandages!" But the underlying threat of excessive
nationalism keeps this drama simmering. Dic Edwards has written a thought-provoking
"lola brecht.is about war but also about peace. The strange state
of mesmeric sub-violence we live in. People find no meaning in their
lives, objects don't have a function anymore. It's like being in the
middle of the Atlantic Ocean and trying to find the bottom with your
feet. The political leaders are zombies or puppets or clowns or sinister.
And we're stranded in a strange hotel by a railway line. The play gives
the feel of contemporary life. History strangely confusing, the mysteries
of the present are not even intriguing - Kafka would die of boredom.
And people's own passions swimming around them like sharks attacking
them. And everything as decorous as a shop window. I think the play
gets all this.The characters are immediately recognisable and their
presence has consequence, they're not arbitrary..It's a strange play:
it's like seeing an island of earth floating in the sky. As if the foundations
of existence were exposed and as if the earth were trying to hide its
Broomhill Trust 1995
Made In Wales, ( The Point, Cardiff) 1995
"It strikes you right through the heartI found the play unfussy,
unsentimental, unapologetic and questioning in a way that really made
me offer up Gary's philosophy - however odd it may be - to the temporal,
real questionings of his brother Mikal and Nicol. What we get from the
writer is great, expressionistic, bravura strokes"
Kaleidoscope on Radio 4
"The company launched its season with what can olnly be described
as a baptism of fire - Dic Edwards' Utah Blue, a brooding, provocative
play about the American murderer Gary Gilmore and his bizarre, interior
world. It is a challenging piece"
"Compelling it made for a provocative and harrowing two hours"
"a brutal, emotional, gut wrenching couple of hours."
South Wales Argus
"The powerful imagery leaves you drained, wallowing in Gary Gilmore's
hell, not caring what his heaven might hold"
Eos Ensemble, (Broomhill International Opera Festival, Kent 1993 & 1995
"Toovey and librettist Dic Edwards have given lively form to
the Grimm tale about a step-mother who kills her step-son.vivid"
"Dic Edwards' librettocarefully disentangles Grimm's fairytalecertainly
a good first for Broomhill"
Several things were remarkablethe structure of the opera itself, (libretto
by Dic Edwards) which kept a very tight hold on tension and momentum,
and skilfully presented the different approaches possible to this mind-boggling
tale. My favourite was an absurdist element strongle reminiscent of
Ionesco's The Bald Prima Donna, where couples talk like elementary dialogue
in an English language text book."
"The Juniper Tree presents impeccable credentials concerning
its integrity as theatreDic Edwards' economical libretto kept up the
tension of the original without indulging in wordiness."
Independent on Sunday.
606 Theatre Company and Eos Chamber Orchestra at Broomhill 1993
"Dic Edwards has spiked his new lyrics with acid, the dialogue
is funny.we listen to the words with relish. He can rhyme Schopenhauer
with petit-bourgeois, which is pretty classy"
"This was theatre that had the audience enthralled"
"Pick of the week: Dic Edwards radical re-working of John Gay's
Beggar's Opera is certainly a reason not to book yourself on the next
Edinburgh (Festival) shuttleDrinks all round!"
"what a feast it turns out to be"
" With a sharp new contemporary plot and witty lyrics from charlatan
genius Dic Edwards, the show had a louche relaxed life that one could
associate with its model far more easily than with some recent overdone
attempts. Comparisons with Brecht/Weil were more appropriate here than
for Lola Blau."
"Dic Edwards' stunning reworking of John Gay's 200 year old classicIn
Dic Edwards' world the poor are as desperate as they are deserving and
closer to the bestial for it. Nowhere has the world of dog eat dog been
so shockingly and graphically illustrated."
Hampstead and Highgate Gazette
Citizen's Theatre Co., (Citizens Theatre, Glasgow) 1993 and London City
Theatre Co. (White Bear Theatre, London) 1994
"Dic Edwards' challenging and enigmatic new play Edwards suggests
that philosophical thought and cultural activities can indeed deprave
and corrupt and that today's rampant nihilism and random vandalism flow
from yesterday's draining of language of all ethical contentit is heady
and intriguing stuff."
"Better news over at Glasgow's Citizens Theatre where fine productions
are running in two studios. Wittgenstein's Daughter is a new play by
Dic Edwards in which a woman who believes herself to be the daughter
of the moral philosopher Ludwig Wittgenstein, discovers that she was
actually brought into the world by his colleagues as a cover for his
homosexuality. Dic Edwards fires in unnusual directions to hit what
I imagine he sees as the moral vacuum in contemporary society. Thanks
to an intelligent interpretation here is a production that does justice
to its theme."
"Dic Edwards' play, Wittgenstein's Daughter is intellectually
accessible, funny and provocative."
"Wittgenstein's Daughter tells the story of a French fascits's
wife, Alma, who falsly supposes herself the philosopher's daughter and
seeks out what remains of his past in Cambridge in the hope of refreshing
her own value system before giving birth to her child. The development,
involving a 100 year old disciple of Wittgenstein, a ghostly return
of the man himself and an alarming flashback to the scene of conception
with Alma playing her own mother, contains some comically sinister scene
buildingTo come clean: Mr. Edwards is clearly a talent, but I haven't
a clue what his play is about"
Irving Wardle in The Independent on Sunday
"There were moments (in this production) when the farcical presentation
does combine powerfully with Edwards' clashing, discordant ideas, giving
some idea of the potential of the play."
Robert David Macdonald
Anne Marie Timony
Citizens Theatre Company, (Citizens Theatre, Glasgow) 1992 and London City
Theatre Co. (White Bear Theatre, London) 1993
"It's one of those delightful plays where you're sitting there
and laughing uproariously at the wit of the language and then you suddenly
understand that the themes themselves are very witty, very well thought
out and very provocative. Because Edwards is looking very, very seriously
at what constitutes revolution; he's looking very seriously at this
whole mirage of reputation: what's an experience, what's an illusion.
There's a lot of very meaty thought which is presented here to us as
almost a bon bon. I think it's a play with tremendous resonanance and
Kaleidoscope, Radio 4
"This witty and compelling philosophical farce spotlights the
degenerate rake, his potency on the wane in Paris during the Reign of
The Terror. His erection, like the old order is flagging.a fine new
"Dic Edwards might be embarrassed to have his work bracketed
with Wedekind but he is a highly accomplished demolisher of myths with
an ear for accomplished dialogue amd a mind for the aphorism: "Just
because we have to lower our standards doesn't mean we have to live
by them"Stimulating and provocative.
Plays and Players
"Dic Edwards is skilled at dismantling mythsit is a highly literate
as well as witty play play with acute aphorisms and sharply tuned dialogue."
"Casanova Undone is a beguiling play by Dic Edwards which alternates
off-the-cuff philosophy with delicious dirty bits. The whole is a critique
of sexuality and power which ultimately rejects the model of sex as
a battle-ground where the combatants fight for the ultimate sensationas
enjoyable as an ideologically sound Restoration Comedy."
Scotland on Sunday
"Dic Edwards has a gift for the telling phrase and an eye for
the bizarre.Casanova Undone is rich with nicely turned lines and it
revels in the byeways of sexual obsession. It's also a philosophical
"Dic Edwards opens his sensational play with Casanova on his
last legs.The writing is sanguine and sophisticated.intellectually zestful"
"Much of Dic Edwards' play is a commdedia dell-arte-type farce
in which the servant leads the master through a series of misadventures.
But behind the farce lies a satire of vanity and an analysis of deception"
Theatr Powys, (Welsh Tour) 1991
"Subtitled In The Great Society, it is a provocative, challenging
work, about the nature of morality, liberal democracy, and freedom..It
does not sound like the usual community theatre fare and it is not,
and all the more welcome for that. It is strong meaty stuff.A stimulating
piece of theatre"
"sombre and richly textured play. Regan enquires disturbingly
into the nature of power over others."
Made In Wales, (Theatre Clwyd) 1990
"In this powerful drama a Colombian native tries to come to grips
with the most laid back of British lifestyles while his hosts' channelled
attitudes refuse to widen under growing cultural clashes."
"the fourth world is a powerful, compelling drama about the confrontation
between a young Colombian man and a middle-class British couple."
North Wales Weekly News
"Dick Edwards' intention is serious and complex. In Charles's
arrogant, and Helen's fumblingly earnest assumptions about Gustavo's
life amid the murder and corruption of Latin America, we see First World
misunderstandings about the Third World blunder into real pain."
Leicester Haymarket Theatre Company, (Haymarket Theatre Leicester) 1989
"didn't stop me from admiring the performance of this powerful
work. .It has all the elements necessary for a cry against society.If
you look beneath the surface, there's some very deep stuff in this playif
you like good, strong theatre you can't help but like this production."
"David O' Shea directs a powerful.allegory."
Central School Speech and Drama, (Embassy Theatre Swiss Cottage, London)
Milford Haven Community Play, The Torch Theatre, Milford 1987
Leicester Haymarket Theatre Company, (Haymarket Theatre Leicester) 1987
"Both in its well-attuned ear for unreason and its choice of targets
- the murky, psychologically Romantic roots of nationalism; the insidious
power of propaganda machines - the writing here is often distantly reminiscent
of the work of the great Austrian satirist Karl Kraus."
"The comedy in this is fresh and surprising. David O' Shea's
direction draws the main story steadily into prominence above the author's
firework display of other ideas. A fascinating evening."
"it's an intellectually stimulating play, and at times very funny
indeed, with every national mannerism wickedly exploited in energetic,
beautifully conceived performances from a distinguished cast."
Sherman Theatre Company (Sherman Main Stage, Cardiff) 1986
"Dick Edwards is a new young writer who has much to offer, using
his plays to draw analogies and discuss political issues, in a heady
mixture of comedy and violence"
"its power is undoubtedly that time after time the audience is
lulled into a false sense of security by the domestic comedy of Paddy
and Sylvia.as the tension mounts amid scenes of sickening violence.
Looking For The World takes on all the proportions of a Greek Tragedy"
South Wales Argus
"Looking For The World is a powerful piece of theatre, its message
intruding deeper into the inner consciousness as the action continues."
Mary Elan Ray
Made In Wales Stage Co. (Sherman Theatre, Cardiff) 1983
"Powerful studies of tyranny"
South Wales Argus
"Once again, Dick Edwards demonstrates his talent for pointed
observation and biting comment, his acute ear for the absurdities in
inconsequential social chat
Made In Wales Stage Co. (Sherman Theatre, Cardiff) 1982
"This play has burst onto a mostly moribund Cardiff Theatre scene
like a breath of fresh air. It gloriously affirms the company's claim
that there are new writers and new works around that deserve a showing."
"Dick Edwards gets right down to the witty, gritty street wisdom
of Cardiff's old Tiger Bay to provide a work of remarkable quality and
depth..With that strange moodiness of Tennessee Williams, he brings
to his first full-length play to be produced, a haunting atmosphere
of dying dreams and lost hopes."
South Wales Argus