Joshua Poole discusses his new comedy Monarchs Anonymous

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Royal therapy: Joshua Poole on Monarchs Anonymous

Some shows begin with a grand vision. Monarchs Anonymous began with a lockdown and a camera. What started as a YouTube sketch series has grown, via Arts Council England development funding, into a fully-staged historical farce at The Other Palace this June, throwing some of history’s most powerful rulers into a group therapy session where no scandal stays buried. Joshua Poole told us more about the show’s evolution.

Red Bus: ⁠Monarchs Anonymous began life as a series of lockdown YouTube sketches and has grown into a full stage production. What did that evolution teach you about which elements of the original concept were genuinely theatrical, and which had to be rethought entirely for a live audience?

Joshua Poole: The Youtube series which comprised of two series and a few bonus episodes really gave us a sense of how the concept would work, how the clash of times and viewpoints across history would come together to create comedy. Comedy is all in the contrast. In 2021 Ceridwen Theatre Company actually received Arts Council England funding to research and develop that idea, how the online sketch series would morph into the play. What emerges is the need for an intriguing storyline and plot rather than just short sketches. This stage version of Monarchs Anonymous has lots of twists and turns and quite a lot of drama and pathos too amongst the craziness.

Red Bus:⁠ ⁠The show features Dr Thompson, a therapist attempting to hold the historical chaos in check, played by a real historian. How does that casting choice shape the tone of the piece, and does having genuine historical knowledge in the room change the way the comedy lands?
Joshua Poole: Of course, I mean first and foremost Kat Marchant is an excellent actor. Dr Thompson is the lead and Kat masterfully holds the play amongst that chaos of the Monarchs. But that aside Kat’s historical background really gives a depth of understanding to her portrayal. You can truly believe she has spend hours with some of history’s greatest figures because in a way she has!

Red Bus: The role of Marie Antoinette is shared between two performers. Does that double casting add a layer of meaning to how the character is presented, or is it more gloriously chaotic than that?

Joshua Poole: The role of Marie Antoinette is shared across the run by sisters Helena Devereux (performing 23-25 June) and Nadia Devereux (performing 26-28 June). Both actresses will bring their own nuances to the role which I’m sure will keep the other actors on their toes! As a company who aims to be as inclusive as possible, we wanted to trial this role sharing model with a mind to how it could work for future runs of this show, for those with caring responsibilities.

Red Bus: The cast brings together figures from very different periods, cultures and relationships to power, Henry VIII, Charles II, Mansa Musa and Sophia Duleep Singh among them. How do you ensure the comedy gives each of them equal energy and intelligence, rather than defaulting to the most familiar caricatures?

Joshua Poole: I think there will be a few familiar caricatures in there as well as digging deeper into the characters. I think often these characters from history are as bold and brash as they seem, sometimes more so. I think the parts of the show that really weigh these characters’ comedy equally are when all the characters are trying to do the opposite; be the best! They all think they are the main character and as they jostle to be the top dog that is when the play is really funny.

Red Bus: ⁠The show takes the position that judging the past by today’s standards is not only permissible but actively entertaining. When the audience gets on the bus home, what is the one thing you most hope they are still thinking about?
Joshua Poole: Nadia, the director and co-writer of the show, has brilliantly created a play that wherever you look on the stage there are little easter-eggs and you can really track the intentions of each character as they navigate the story. I hope that each audience member has a slightly different take and experience of the ‘session’ as though they have attended it like the monarchs in the show have.