Thenceforth, his career centered on Norwich, although he occasionally returned to London, as he did in 1910 to manage Poel's production of The Two Gentlemen of Verona at His Majesty's Theatre.
Out of this troupe came the Shakespearean company that, a decade later (after World War I service in the Royal Army Medical Corps), Monck housed in a renovated Catholic chapel which had once served as a baking powder factory.
These productions included a Pericles, Prince of Tyre with Paul Scofield in 1947; Cymbeline at the Shakespeare Memorial Theatre in 1946; and King Lear in London in 1953.
For directors, he continued Poel's destruction of the legacy of actor-managers such as Charles Kean and restored some of the vital conditions of Renaissance stagecraft.
For the same reason, he aided scholars in exploring their own theories about Elizabethan practice; for example, his ruthlessly cut performances provided insight into the "two hours traffic" of the Renaissance stage.
Highlights from the article include a brief history of the formation of The Norwich Players and the Maddermarket theatre and the financial arrangements required to get the Elizabethan style playhouse off the ground.
These words adequately sum up his perspective, "These remarks are not those of a scholar, not of an original thinker, but of a man who has spent his life trying to put Shakespeare simply on the stage."