Q&A with Xnthony – Oliver Cromwell Is Really Very Sorry

No More Workhorse Q&A with Xnthony who conceived the musical Oliver Cromwell Is Really Very Sorry:

Performance artist Xnthony talks to No More Workhorse about his touring pop musical show, Oliver Cromwell is Really Very Sorry – a wickedly funny exploration of English colonialism in Ireland. With a good look at the most hated man in Irish history, Oliver Cromwell. Conceived and interpreted by Xnthony, is an epic musical show which takes to the road this October and November:

This concept must rate alongside ‘Springtime for Hitler’ from the Producers for the most unusual idea for a musical. Who came up with the idea?

A fantastic reference! The idea for the show originated after I finished performing in Edinburgh in 2019. I had just completed a show called “Confirmation,” which focused on the marriage equality referendum in Roscommon (my hometown). Unfortunately, the show didn’t seem to resonate with British audiences, and I felt disappointed. At the same time, Brexit was causing increasing problems in how the British government was approaching Northern Ireland, particularly with issues like the backstop and the implications of the border. I was inspired to create a show that would shed light on this complex issue and serve as a wide-ranging history lesson of England’s time in Ireland.

I distinctly remember coming across a photo of Mel Gibson sitting next to a bloodied Jesus, symbolising Ireland, while Gibson explained colonialism to Ireland. It struck me as humorous and grotesque at the same time. When I mentioned the idea of creating a show about this concept online, it generated significant interest and discussion.

Additionally, I’ve always had a strong fascination with history, particularly Irish history, and my previous work has often explored historical themes and the complexities of multi-national identities. Even if it seemed silly and glittery, there were always those themes at the back of the work!

The focus on Oliver Cromwell as a central figure in the show emerged during the creative process. Initially, I had considered making a show called “IRGay,” but a little bit of thought would prove this concept problematic! Funnily enough, it was this idea that Arts Council England funded first!  Ultimately I settled on Cromwell because his relationship with England and Ireland is so nuanced and complex. Many in the UK view him as a modernising force in English democracy, completely unaware of his actions in Ireland. This one-sided perspective was incredibly intriguing to me.

In terms of the darkness and danger of making a show about a genocidal leader…well…it never really occurred to me as being problematic. His history is our history, and by queering it we are able to show the pain but also allow humour in allowing relief for audiences.

Creating a Musical is one of the most difficult things for any theatre company to do. How long did it take from concept to finally making it to the stage? How difficult was it?

Yep, making a musical is undeniably challenging. I recently ventured into screenwriting and have found it to be challenging in its own right but musicals are a whole other beast. With a musical production, there’s a distinct need to justify why characters break into song instead of merely speaking. Musical numbers should serve to advance the plot rather than just state facts. It may sound a bit abstract, but that’s the essence of it.

It took three years to get this show made. A significant part of the process involved intensive research and reading, which I did mostly on my own. I can map a period of intense learning in developing my writing during these three years. I can’t believe I managed it to be honest! Of course, it was an intense collaboration with my co-writers ÓDÚ who also composed the music and Sam Curtis Lindsay who is the director. I started off with this hilariously intense 20-minute free-write session, allowing myself to be possessed by the spirit of Oliver Cromwell. These made for some gas writing, which actually made it into the show untouched. Other parts like presenting the violence at Drogheda took three years to perfect, because of the very complicated nature of the subject matter.

We saw a lot of musical theatre…most of which I didn’t really like! Sorry! We wanted to create a musical that steered clear of the aspects we disliked in musical theatre – earnestness, and rambling compositions, instead drawing more heavily from my personal background in club and cabaret performances. Pop songs are also brilliant structures to use to explain history – they’re short and need to be clear. Insert a pop hook, and Bob’s your uncle. This doesn’t mean the show lacks entertainment value, far from it, rather it offers a more witty, electric atmosphere akin to a cabaret show.

Is this one for History buffs or for fans of musical theatre? Or both?

This show is perfect for those who have a passion for history, musicals, or both. And for the history buffs out there please rest assured – the show is historically accurate! Some have said ‘oh you are inventing or exaggerating history purely for comic effect’, but that’s not the case. The show is firmly rooted in historical truth and accuracy.

For instance, Oliver Cromwell was an actor who portrayed the king! He was obsessed with his star sign (he was a Taurus, like most genocidal leaders).

Cromwell is often said to be ‘one of the most hated men in Irish History’. Do you think this production will change people’s perspective on him?

Surprise, he’s still a hateful pr%@k!

In a nutshell, no, he’s not a likeable character… but that’s not exciting for an audience and also, he probably didn’t start out that way. We subscribe to the belief that people, usually men, make decisions which bring them to an evil place. In this show, we start off with a simple-minded, somewhat snotty attention seeker who bumbles his way to power and makes decisions that have far-reaching consequences. In our version, Cromwell isn’t a rightful wielder of power or a champion of noble causes but a manipulator of religions and political movements. We present a complex character who often acts impulsively, and we don’t sugar coat the fact that he’s not a pleasant person.

This play received a five-star review from the Irish Times/ the Arts Review. Were you surprised by just how positive the reviews were? 

Any words of praise feel nice, but what’s funny is that by this point and with this show, I was very confident in the quality of what we had created.

Over the years, I’ve produced a variety of work with differing levels of success and critical acclaim (or none). Often, my work has been received more positively by audiences than by critics. What intrigues me is the evolution I’ve observed in how cabaret has successfully integrated itself into theatre in Ireland. The skills and elements of cabaret are now actively embraced in the theatrical creative process. This is a big shift from ten years ago when critics would have dismissed this as out of place or even embarrassing. It’s exciting to witness this change, and I encourage others to continue exploring it while acknowledging the underground culture that generates and pioneers cabaret work.

The success of this show has also been surreal because people were approaching me on the street months and even a year after the show, sharing their love of it. This has had a profound impact on how I’ve perceived my work over the decade. I started to question if only this show was any good and wondered if the previous work was just rubbish. Thankfully that’s for my therapist and I to sort out, and not your readers 🙂

You are about to bring this production on tour around Ireland, with performances in 8 locations. Are you looking forward to the tour?

I can’t wait for the tour because I know people will love it. I know people will learn a lot from it and I know that people who don’t usually go to theatre will be entertained while also challenged by its subject matter. I’m excited to go to Roscommon, my hometown, but I’m also excited to go to Drogheda, which obviously has a lot of historical resonance. Most of all I’m excited for my whole family to see the show in Roscommon. What fun!

Oliver Cromwell is Really Very Sorry tours nationwide from 20 October – 29 November – check here for all tour venues & dates: https://www.xnthony.com/ocirvs-tour