Known for its visually arresting puppet-based productions such as Moby Dick (Barbican), the company heads to this year’s Edinburgh Fringe festival with this new proposal based on Stoker’s classic novel. Guillermo Nazara chats with the show’s director to learn more about its development and their decision to sink their teeth into this subject.
How does it feel to be bringing the show to London?
We are thrilled to be returning to The Other Palace after a short run last year. It’s an incredible venue with the best team who we love working with.
How does a YouTube podcast channel about historical fun facts become a comedy about famous historical figures going to therapy?
The YouTube series, created by Nadia Devereux and Joshua Poole during lockdown, gained a faithful online following for their brilliant comedy sketch style episodes featuring monarchs from throughout history.
What’s been the process of making that transition?
We were lucky to receive funding from Arts Council England to run an R&D to test out ideas for the stage and figure out how to translate what people loved about the online series into a full production. From there, the script went through many changes and adaptations with assistance from a new writer, Lyon Devereux. We then began again with a short run at The Other Palace Studio, then Brighton Fringe, and now here we are again – thrilled to be opening a weeks run at The Other Palace Studio.
One of the key themes in the show is challenging the idea that people from the past shouldn’t be judged by the standards of today. What are the reasons for that approach and why do you think they should, in fact, be judged that way?
In this show, the comedy and the drama comes from the fact that the past is judging you too — and everyone else in between.
What other themes have you tried to explore throughout the piece?
We explore lots of themes within Monarchs Anonymous, including, of course, the idea of monarchy itself! We also touch on identity, power, and legacy.
How does the show preserve the educational essence of its predecessor while simultaneously being droll?
The show does well to comment on knowledge that most people may know about these monarchs whilst also allowing for new facts in a humourous way and with a light of touch. You are not being hit over the head with the history stick!
Is education more effective through humour?
I think education is better when you don’t even realise you are learning, because you are having so much fun!
What challenges have you faced throughout the show’s development?
Transforming the online series to the stage has come with its challenges, as it’s almost more believable that Monarchs about would be Zooming in rather than all being in the same room. We are also sad that we couldn’t bring our international audience with us to the stage show, who have been with us since the YouTubes series began in 2020. We do, however, love a challenge and have met them all head on!
Has the show evolved in any way since its inaugural run?
Creating the world of Monarchs Anonymous has been so much fun as well as a challenge. The show has done a mini tour this year. And so, we are expanding the world of the play with the set all the time. The costumes are so fantastic and larger than life and take up a surprisingly large amount of space!
The show has evolved so much since it’s run last year. The director and writers are passionate that the work is never completely done and there is always more to gain and to discover.
What are the prospects for the show after The Other Palace?
Watch this space! We know the concept is a well-loved one, whether that be online or in person. We want the idea to continue to live on and grow. We are excited to get back into meetings with the creative team to discuss what’s next.
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Headshot credit to Ivan Weiss.
Monarchs Anonymous plays at London’s The Other Palace until 28 June. Tickets are available on the following link.