after the collapse of the Soviet Union; the second part, Pentecost, set during the early 1990s, concerning the discovery of a mural in a small church; and The Prisoner's Dilemma (2001), which premiered shortly before 11 September. The 2000s His plays included Albert Speer (2000) and Playing with Fire (2005), both of which premiered at the Royal National Theatre, in London. Albert Speer, based on Gitta Sereny's biography of Adolf Hitler's chief architect, munitions minister, and friend Albert Speer, and other historical biographies and documents, focuses on Speer's imprisonment, release, and personal struggle to overcome his denial of The Holocaust. Playing with Fire, a play about the politics of New Labour, multiculturalism, and ethnic tensions in the north of England, was produced on stage and in an adaptation for radio. In 2003 Edgar was jointly commissioned by the Oregon Shakespeare Festival, in Ashland, Oregon, and the Berkeley Repertory Theatre, in Berkeley, California, to write Continental Divide, a two-play epic about American politics. The subjects of the two plays, Mothers Against and Daughters of the Revolution, were the inner workings of the Democratic and Republican parties at the time of a gubernatorial election. They were first performed in Ashland, Oregon, as part of the Oregon Shakespeare Festival in March 2003 before transferring to Berkeley Repertory Theatre in November 2003. They were premiered in the United Kingdom at Birmingham Repertory Theatre in March 2004. They went on to play at the Barbican, London in the same month. Neal Ascherson called the two plays "a compelling analysis of American political life past and present." Testing the Echo in 2008 was concerned with a diverse set of characters preparing to become British citizens. In 2011 he produced Written on the Heart for the Royal Shakespeare Company, on the translation of the King James Bible. He also participated in the Bush Theatre's 2011 project Sixty Six with a piece he wrote based on a chapter of the King James Bible. In 2018 Trying It On explored the roots of the referendum on the European Union of 23rd June 2016. Edgar appeared as himself on stage, in interrogation with his youthful self, at the Royal Court. “Idealism is not dead”, the critic Michael Billington wrote “It has simply changed its focus and tactics.” Trying It On was at the Edinburgh Fringe Festival in 2019. The Skinny review called it “a thoughtful, self-questioning play of ceaseless invention.”