
Diana Edwardes obituary
She had started out on the London stage in the years after the second world war, having trained at the American Academy of Dramatic Arts in New York, but working in the theatre became more challenging after she moved with her husband to Tonbridge in Kent. There she became involved in various amateur companies as well as directing two seasons for the professional Penguin Players in Tunbridge Wells.
After running a series of workshops for young people, and following an encounter with the National Youth Theatre founder Michael Croft, Diana set up the West Kent Youth Theatre in 1965, providing opportunities for local teenagers, with a wide-ranging choice of plays, including The Fair Maid of the West, The Caucasian Chalk Circle and Arc, for which she co-wrote the book and lyrics. The company toured local schools and theatres and won invitations to play in London, at the Minack theatre in Cornwall, and in Belgium, the Netherlands and the US. Diana's determination and energy kept it going for over 25 years. She was appointed MBE in 1983.
Having trained as a teacher as a mature student, from 1973 to 1991 Diana taught English at Tunbridge Wells girls' grammar, becoming head of department. She co-wrote a volume in a series of drama education books called Ideas in Action. She also qualified as an adjudicator and judged drama festivals.
In the 1990s, she turned her attention to writing and directing community theatre, the climax of which was Celebration (1993), telling the story of Sevenoaks and the surrounding villages, and performed outside in Knole Park with a cast of 599 actors, 11 horses, two dogs, and over 100 technicians. Thousands turned out to see the show over three balmy evenings.
Diana was born in Cape Town, South Africa, the only daughter of Gladys (nee Borthwick), a university biology lecturer, and Frederick A Rimer, an accountant. She was seven years old when her parents divorced, and she never saw her mother again. After Herschel girls' school, Diana started studying for an English degree at the University of Cape Town before crossing the Atlantic by boat during the war to Argentina at 17, from where she flew to New York to take up her place at drama school.
On graduating, she was cast in a Broadway play only to discover that her student visa prevented her from performing professionally. Instead, she moved to London, where she sang at the Players' theatre and joined the original Young Vic company under George Devine, Glen Byam Shaw and Michel Saint-Denis. Saint-Denis picked her out as a potential director and took her under his wing.
Shortly afterwards, she met Paul Edwardes, an industrial engineer and fellow South African, who had been awarded the MC during the war, and they married in 1948, moving to Kent in 1952.
In her 80s, Diana began creating shows for community centres and old peoples' homes. A Pocketful of Hops, based on the experiences of East Enders who came to Kent to pick hops, was a favourite.
Paul died in 1987. Diana is survived by her children, Simon, Pamela and me, her three grandchildren, Joe, Paul and Esther, and three great-grandchildren.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Telegraph
3 minutes ago
- Telegraph
YouTube is no replacement for old media
Young people now choose to watch YouTube more than any traditional TV channel, according to Ofcom figures. Founded just 20 years ago, YouTube has around 2.7 billion users in more than 80 countries. It has effectively become the biggest TV channel in the world. With 720,000 hours of video uploaded every day, this explosion of content provides the viewer with virtually unlimited choice. It has democratised content creation and allowed an extraordinary diversity of voices to bypass almost all editorial oversight. There is much to celebrate in the media revolution. Artists, musicians, commentators and performers can now build and interact with their audiences directly, relying on their own creativity alone. Consumers have a range of content undreamt of just a few decades ago when the only question was which of the four terrestrial TV channels to watch. At the same time, however, the lack of any filter or editorial control provides real risks to democracies which rely on an informed public and high quality journalism. Without any kind of moderation, platforms like YouTube provide fertile ground for misinformation and disinformation, allowing conspiracy theorists and hostile states equal space with professional reporting and properly resourced high quality content. Unlike the public service broadcasters (PSBs) which are bound by strict editorial standards and regulatory oversight, YouTube, TikTok and other platforms rely on algorithms which prioritise engagement over accuracy. Sensationalist, misleading or outright false content often garners more views, likes and shares, amplifying its reach. This distorts the information and facts which voters need to have in order to make informed decisions at election time. Despite this huge increase in the number of competing providers of video content, the need for reliable and trusted public service broadcasting remains greater than ever. The range of entertainment across the TV channels and streaming services is vast, benefiting viewers and creators alike. However, consumers also need to have sources of trusted and factual information on which they can rely. Public service broadcasters are governed by the Broadcasting Code and are required to be impartial and not to give undue offence. The quality press like the Telegraph survive on a reputation for accuracy and properly researched investigative journalism. Yet both are threatened by the rapid growth of unregulated and often unreliable social media platforms. The steady decline in the reach of public service broadcasters that we have seen in the past 10 years is likely to accelerate as we approach the time when terrestrial transmission will cease and all TV viewing will be via the internet. Sales of physical newspapers will continue to fall, with some already shifting to digital-only distribution. As viewers and readers move to online platforms, advertisers inevitably follow. Last year, YouTube made more than $36 bn from advertising. With so much free content available, it is tougher to persuade consumers to pay subscriptions for news content or to pay a compulsory licence fee in order to watch live TV. The latest BBC annual report records that the number of licence-fee payers fell yet again, by another 300,000 last year. Governments of both colours have struggled to support professional media. The latest Media Act, which I took through parliament just 18 months ago, requires that the PSB channels are given prominence (appearing at the top of the programme guide) on connected TV platforms, set-top boxes and streaming sticks. This has already been overtaken as more and more consumers reject scheduled TV and turn straight to on-demand services. Ofcom warned this week that the future of public service media is at stake and called for YouTube in particular to do more to ensure that this content is prominent and easy to find. There are other steps that government and regulators can take. More needs to be done to improve media literacy and to encourage consumers not to accept every claim online and instead to rely upon trusted news providers. The Competition Authority will need to use its new powers to ensure that those who create news content are properly rewarded by the tech platforms that disseminate it. And, as AI offers greater competition by scraping news content and re-presenting it, robust copyright laws must ensure that those who created it are able to control its use and receive appropriate payment. The challenge for policy makers and news organisations remains how best to adapt to a rapidly changing media landscape while protecting the principles of accuracy and impartiality on which a functioning democracy depends.


The Independent
17 minutes ago
- The Independent
Ozzy Osbourne's family join fans in Birmingham for an emotional farewell
Ozzy Osbourne's family joined fans in paying an emotional farewell to the heavy metal star during a procession in Birmingham. Sharon Osbourne, who was married to the musician for more than four decades, became emotional as she stepped out of a car to view the hundreds of floral tributes and balloons laid around the Black Sabbath bench. The former X Factor judge, 72, was helped out of the first vehicle in the cortege by her and Ozzy's son Jack, who joined her at the event along with their daughters Aimee and Kelly – who all raised their hands in a peace sign while paying their respects. The family members wiped away tears at the bench as they inspected tributes, with members of the crowd shouting 'we love you Ozzy'. Sharon and her children carried a pink rose, wrapped in black paper tied with a purple ribbon, that they laid on top of the many other floral tributes that sat next to a poster of the star, which said 'Birmingham will always love you'. Sharon kissed the flower she was holding before laying it in the middle of the tributes. The hearse carrying Osbourne's coffin passed the star's childhood home in Lodge Road, Aston, at about 12.45pm on Wednesday on its route into Birmingham city centre. Flowers were placed outside the terraced property, close to Villa Park, while the owners of the house put up a picture of Osbourne in the front bay window. The Jaguar hearse and six Mercedes funeral cars, accompanied by police motorcycle riders and a police car, drove slowly along the street on Lodge Road, watched by a handful of fans and the current owner of the house. The hearse, adorned with purple flowers spelling out 'Ozzy' and a cross on its roof, then made its way down Broad Street before stopping at the Black Sabbath bench. Musicians from Bostin Brass played Black Sabbath songs to accompany the cortege, and fans threw flowers at the hearse while it slowly passed through the city. Fans also left tributes outside a mural on Navigation Street, which was created ahead of the Back to the Beginning concert at Villa Park, which took place a few weeks ago. Dianne Powell, from Cannock in Staffordshire, laid flowers at the Black Sabbath Bridge after Osbourne's hearse had left. She told the PA news agency: 'It was crammed in the crowd but really emotional. It's just very sad, I watched him a lot on the TV. 'It was very special to be here. There will never be another Ozzy Osbourne.' Speaking after Osbourne's hearse left the bridge, John Cahill, from Birmingham, said it was 'an emotional day for a lot of people from around the world'. He said: 'I've liked Ozzy all my life and when I heard of his passing, as you can see here, it's just touched everybody's heart. 'I just had to be here today. It's been a very emotional day, I did get emotional, I think everybody has.' Lord Mayor of Birmingham Zafar Iqbal hugged Sharon when she arrived at the Black Sabbath bench. He told PA: 'It was incredibly emotional for me to see her and the family. They are such a loving family and you can see how loving they are.' Osbourne and his Black Sabbath bandmates – Terence 'Geezer' Butler, Tony Iommi and Bill Ward – were recently given the freedom of the city of Birmingham, which recognises people's exceptional service to the city. The group, which formed in 1968, is widely credited with defining and popularising the sound of heavy metal. Osbourne, who also had a successful solo career, found a new legion of fans when he appeared in the 2000s reality TV series The Osbournes, starring alongside his wife Sharon and two youngest children, Kelly and Jack. The music star, who was diagnosed with Parkinson's disease in 2019, performed his last gig on July 5 in a concert that also saw performances from the likes of Anthrax, Metallica and Guns N' Roses. Osbourne died just over two weeks after Black Sabbath were reunited barely two miles from where they first played together more than 50 years ago.


Daily Mail
20 minutes ago
- Daily Mail
Meghan's new goldmine: Insiders tell ALISON BOSHOFF why she and Harry are set to make MORE money next year despite being 'horrible at making decisions' - but it's not all good news
Revealed: Meghan and Harry's new goldmine 'Deal scrapped!' 'Executives are angry!' Reports have flown across the globe this week saying Harry and Meghan are being dumped from their five-year exclusive deal with Netflix.