Max Frisch
Frisch's dramas up until the early 1960s are divided by the literary commentator into three groups: (1) the early wartime pieces, (2) the poetic plays such as "" ("Don Juan oder Die Liebe zur Geometrie") and (3) the dialectical pieces. It is above all with this third group, notably the parable "The Fire Raisers" (1953), identified by Frisch as a "lesson without teaching", and with "Andorra" (1961) that Frisch enjoyed the most success. Indeed, these two are among the most successful German language plays. The writer nevertheless remained dissatisfied because he believed they had been widely misunderstood. In an interview with Heinz Ludwig Arnold Frisch vigorously rejected their allegorical approach: "I have established only that when I apply the parable format, I am obliged to deliver a message that I actually do not have". After the 1960s Frisch moved away from the theatre. His late biographical plays "" ("Biografie: Ein Spiel") and "" were apolitical but they failed to match the public success of his earlier dramas. It was only shortly before his death that Frisch returned to the stage with a more political message, with "Jonas and his Veteran", a stage version of his arresting dialogue "Switzerland without an army? A Palaver".
Krindlekrax
The script was published the same year by Faber and Faber. However the text became out of print due to Ridley leaving Faber and Faber in 2005 as a result of their refusal to publish his controversial stage play for adults "Mercury Fur". Because of this Ridley then moved along with his back catalogue of plays to Methuen Drama, where many of them were republished, but not "Krindlekrax". On 23 September 2016 Samuel French Ltd. announced on their Twitter page that 17 of Ridley's plays had been added to their catalogue to purchase performance rights to. Amongst the plays were "Kridlekrax", the script of which has been republished by Samuel French in an "acting edition", after many years of being out of print.