Moving on to higher things from his job in a community college, former sixties activist Michael Bern finds that his partner has thrown a surprise fifty-fifth party in his honour, at which she and his friends present him with his FBI file (with dramatized extracts, of course). In the file, Michael finds proof that one of an eight-strong group of activists was an FBI informer. His career and relationship threatened by his discovery, Michael sets forth to find the eight, a quest which takes him from a political campaign to a ghetto neighborhood, from a gated community to a beachside fundraiser, from a group of hippy treesitters deep in the redwood forests to the site of a vital governor's debate. On the journey, Michael discovers what happened to his former friends, but more profoundly, what has happened to himself.
DAUGHTERS OF THE REVOLUTION is a companion piece to MOTHERS AGAINST. Set against the background of the same fictional west coast governor's election (MOTHERS AGAINST about the republican campaign, DAUGHTERS OF THE REVOLUTION set among the democrats), the plays stand alone but are enriched by being seen as a pair (jointly titled CONTINENTAL DIVIDE). The cycle is designed so that the eight actors in MOTHERS AGAINST play parts in DAUGHTERS OF THE REVOLUTION, which has a cast of fifteen. "…a total triumph." —Guardian (London). "…hugely impressive…this is an incisive, dense, intelligent, informative cycle." —Times (London). "Edgar's writing has a vigour, a swagger, a taut, tense texture that portrays men and women in the white heat of ambition, duplicity, conscience and tortured idealism." —Sunday Times (London). "Overwelming…This is a drama about America as it was before George W. Bush, and—we can pray—might one day be again." —Observer (London). "What Edgar has to say is breathtakingly timely. CONTINENTAL DIVIDE is theater as salt lick. You lap it up." —NY Times.
"Heady, impassioned and unfalteringly politically engaged…as exciting in ambition as it is penetrating." —San Francisco Chronicle.