age." "It wasn't very good", Edgar admits. He re-used the character of Rosa Luxemburg in his first full-length work, Bloody Rosa, produced by students of Manchester University at the Edinburgh Festival in August 1971. The play is set ostensibly in a university lecture theatre with a professor telling the story of Luxembourg's political journey, culminating with her violent death at the hand of the fascists in 1919. Edgar added the dramatic twist that events were being regularly interrupted by the students to question the professor's version of events. Further material followed in quick succession and by the end of 1971 Edgar had seen eight of his plays performed, including A Truer Shade of Blue (1970), a one-act play in which two businessmen visit a Soho strip club where they encounter a stripper/waitress whose story changes their perception of such entertainment; Still Life: Man in Bed (1971), produced at the Pool Theatre, Edinburgh, and again at the Little Theatre, London in 1972 is a one-act re-working of the theme of Ivan Goncharov's novel Oblomov (1859), in which the hero remains in bed for 79 days unable to cope with the decimalisation of currency; Acid (1971) produced by Parr's Bradford University Theatre Group, then again at the Edinburgh Festival in 1971, is a one-act play that has a copycat of the Charles Manson massacre take place after a 1970 pop festival on the Isle of Wight; Tedderella (1971), produced at the Pool Theatre, Edinburgh, then again at the Bush Theatre in London in 1973, is a one-act pantomime transposing political events in the life of British Prime Minister Edward Heath into a pantomime reminiscent of Cinderella. The ugly sisters, Harold Wilson and Roy Jenkins, won't let "Tedderella" (Heath) go to the Common Market Ball when the 1970 general election intervenes. During this period Edgar continued to work as a full-time journalist, and even found time to do some acting with Parr's group, in parts such as the title role in Toad of Toad Hall and Flashman in Richard Crane's adaptation of Tom Brown's Schooldays (1971). Edgar's acting also ran to playing God in Howard Brenton's Scott of the Antarctic (1971), a mock "cabaret on ice" in which Scott is confronted by the Devil on a motorbike with Hells Angels trying to stop his expedition to the South Pole. This was staged as part of a series of events produced by Parr for