Wilton’s Music Hall, London – until 8th December 2026
Reviewed by Phil Brown
5*****
Although historical events are not uncommon as themes for stage shows, Incendiary is possibly unique in British theatre by featuring the narration of an important historical artefact – Samuel Pepys’ seventeenth century diary – centre stage. The motivation for this show seems altogether more Reithian than typical entertainments which mine the past, and includes contemporary songs and tunes played on contemporary instruments. Whilst richly entertaining, everything about it conveys serious art. This lends a genteel, cerebral, salon or soiree like feel to the evening enhanced by the period charm of Wilton’s – a gloriously battered survivor of London’s theatrical past
I have to disagree with the otherwise excellent programme notes that Pepys Diary is the most remarkable account we have of ordinary lives in extraordinary times. Yes the times (1660 – 1669) were indeed extraordinary – the return of Charles II to the throne, war with the Dutch, the plague and the great fire of London – but Pepys was no ordinary man, and the show itself hardly reflects on “ordinary life” outside of these major events. As the diary, originally written in a form of shorthand, runs to 6 bound volumes, no doubt, a lot of material has been omitted, but the somewhat haughty way Pepys is portrayed, suggests he wouldn’t have been too interested in ordinary life – at least when it’s not of direct benefit to him. Having said that, his diary does mix in the historically significant with the everyday and big picture stuff with the detail.
Pepys ended his daily journal entries mid 1669 at age 36 for fear the combination of his official work and late-night shorthand writing was ruining his eyes. He did live for another 34 years however, and the show takes us up to his death in 1703.
Deidre Shields, who wrote this work has found a rich seam of inspiration for theatre and is producing something wonderful with it. Incendiary reminded me very much of something seen earlier in the year at Wilton’s – By A Lady – The Life and Wit of Jane Austen and sure enough, on checking, I find the same creative team at work – Hambletts theatre production company.
Shields has skilfully adapted Pepys’ words to tell a fascinating and revealing human story with wit, nuance and the occasional ‘punchline’ that resonates with a modern audience. An example of a clever detail is the programme title with the ‘diary’ part of Incendiary printed in red. The narration by Edward Bennett playing Pepys is quite superb.
The two act show consists of segments of narration interspersed regularly with music of the period – sometimes brief snatches of punctuation but mainly full songs or tunes, nine in each act. These are ‘broadside ballads’ (a single sheet of cheap paper printed on one side, often with a ballad, rhyme and news) or compositions by John Dowland, Henry Purcell, Thomas Campion and Pepys himself. (He loved music and learned the guitar in later life).
The Hambletts creative team of Shields (writer), Judy Reaves (director), and David LePage (music director, arranger and violinist) has devised a beautifully constructed piece of theatre from words to music. In the hands of the superlative performers, this is turned into an evening of pure magic and rapturously received by the audience.
Staging is pared down to utmost simplicity. Out front is a lectern from which Bennet, dressed like the musicians, in a white linen tunic style shirt vaguely of the period pronounces as Pepys. Seated either side are David LePage (violin) and Nick Stringfellow (cello). Tiered behind are two contenders for unofficial star of the show – Grace Davidson (soprano voice) and lutenist extraordinaire Daniel Murphy – both wonderfully gifted musicians performing at their peak.
The crystalline purity of Grace Davidson’s soprano is breathtaking. She also takes on the speaking role of Elizabeth Pepys – Samuel’s wife from around age 14 until she died of typhoid aged 29. Although Pepys commissioned prominent sculptor John Bushnell to erect an elaborate white marble bust to Elizabeth in his local church St Olave’s, and never remarried, Pepys had an occasionally strained relationship with her. And he was just as energetic in his philandering as he was in other activities (including discourse and wine), and not above using coercion and position to gain sexual favours. Given Pepys’ behaviour towards women, Shields and Reaves decided to give ‘my wife’ – Elizabeth – a voice in the show to highlight this less savoury aspect of him. It would bear even more of Elizabeth’s voice.
Incendiary is riveting, epic entertainment – an absolute joy from first to last. It’s an ingenious concept to start with, artfully moulded into a witty and intoxicating stage show of words and music, and brilliantly performed on the night. I thoroughly enjoyed absorbing more knowledge of seventeenth century history in 2 hours than in several years of school history classes…