Mark Brookes was living in Tenterden when he began writing letters to a romantic interest in Folkestone. “I suggested we write in character, to minimise our all too frequent arguments! I wrote as Monty Button-Purse; she…never replied! I was heartbroken. And desperately wanted to reimagine our story. So after a long afternoon at the Dickens museum in Broadstairs,  I sat on the Eastern Esplanade writing letters, which gradually shaped themselves into a script.”

Dickens was an obsessive letter-writer, of course, with more than 14000 of his epistles still in existence: he pursued many of his own romantic interests by pen, many of whom speedily succumbed to its charms. Mark’s play - Love, Monty - is set a little later, in 1922, but his letters contain all the eloquence, plot twists and emotion of any Dickens novel. I was lucky enough to catch a dress rehearsal before it headed up to play the Edinburgh fringe, and groaned, gasped and cheered throughout. It’s a truly magnificent piece: the writing sweeps you up and carries you along from the first word, ably assisted by the flawless, energetic performance given by Archie Bowen-Brookes, Mark’s son.

“Courtship hasn’t changed over the years. The urge to love and be loved is timeless” says Mark. “We still wait breathless for the ping of a notification, which may dash our dreams or bring untold joy! It’s just in1922 we had the walk to the post box to worry whether we’d been too bold.  Then the long lonely wait for the postman’s rattle….”
Love, Monty is set in London, in the roaring twenties, just after the Great War which functions as a silent character in this piece, shaping the futures and stories of those we meet. Bachelor Monty Button-Purse spies beautiful Gracie at a New Year Ball, but can’t find the courage to speak to her, choosing instead to woo her by letter.
“I’ve written other plays that are more vibrant, more modern, more… aggressive. This one I planned to showcase a different style. Trotting round the Dickens museum I began to hear a little voice in my head, and thought, this could become a character, then a story.”
“And then you gave it to your son to interpret! How did that work?”
“He’s been on stage since he was six years old, so I knew I could trust him with my words. but still, it was difficult! We read through it together, then I wanted to explain my intentions for each letter. But he wanted to learn the words first before hearing my take on them; then said, if I need any help, I’ll ask! He wanted to direct the piece himself. That rather crushed my ego. But I had to wrap that ego up, put it on the shelf, trust him as an actor to bring my words to life. OK son, you’re the professional actor, you’ve got the equity card, do with it what you will. And thank goodness, it worked. I was right to trust him!
“It’s superb hearing the audience laugh, but also hearing them gasp. It’s a proper rollercoaster. They feel for Monty on each stage of his journey. From the first word, they’re desperate for him to fulfil his ambitions, get the girl and the happy ending."
It’s almost impossible for an unknown play featuring an unknown actor to get any kind of audience at Edinburgh. I commend Mark’s bravery. “You have to give these things a try, don’t you? Archie was just finishing his training at the Bridge Theatre Training School, and needed a new project. You can’t sit back and wait for opportunities to present themselves. You have to force them into existence!” The five people who make up the show will be taking a motorhome up to Edinburgh to camp together for ten days, to save some cash during the notoriously expensive festival. Their play can be seen at The Vault on Paradise Green, 4-12 August, at 19.25 each day.

After the Edinburgh run it’s hoped the piece will be made into a film, and the story seen elsewhere.
Exactly as Monty ends each letter: “Forever subservient to optimism!”