David Hare and David Edgar belong to the same generation – Hare born in June 1947, Edgar eight months later – and collaborated in the left-wing touring theatre scene of the late 1960s and early 1970s, working on so-called “state of England” plays. Both went on, in the next two decades, to ­create large-scale examples of that genre for the biggest subsidised theatres: Hare’s Plenty, Racing Demon and The Absence of War for the National and Edgar’s Destiny and Maydays for the RSC. With each having a big winter production in London, it’s a good opportunity for a state-of-David comparison, although we find both men far from England.India is the setting for Hare’s Behind the Beautiful Forevers at the National; and specifically the slum dwellin