Horrible Histories may have been your last encounter with Samuel Pepys, but the Stirling University Drama Society (SUDS) set out to dive deeper into the diarist’s murky life with In This Body of Flame.
The experimental historical drama saw Samuel Pepys confronted by one question: “Were you a good person?” It haunted Samuel, along with characters from throughout his life: His wife, his affairs (personified as The Maid), The General, and The Monarchy.
In addition to these four characters the play features the Plague and the Great Fire of London – both historical events documented by Pepys.
What could have either been a stuffy drama or a parody was instead a carefully researched re-telling of the life of Pepys and those around him.
Charlie Grant’s performance as Samuel Pepys was frighteningly believable, initially displaying hubris before becoming a broken and tormented man.
From the cool but demanding character of Oliver O’Hare as The General, to the fun, campy performance of Callum Edwards as The Monarchy, the entire cast had an impressive stage presence.
Ailsa Tully was a convincing wife dealing with extramarital affairs and mistreatment. Her range of emotion was impressively pulled off, especially dealing with the young maid (Freya Stevenson) that Pepys was captured by.
Emilia Finucane stole the show as The Plague with her unhinged, Moaning Murtle-esque performance. The room filled with uncomfortable tension when she bent backwards singing the plague-time song Ring a Ring o’ Roses.
The set was simple, allowing the characters to lead the play. Sound was used to fill the room with whispering characters from Pepys mind and light, or lack there of in some scenes, attacked the senses and demanded attention where the directors wanted it.
Paradise in The Vault provided the perfect set for a historical play. It was intimate and looked like a room that Pepys himself could have lived in. SUDS also utilised the space to provide the audience with an immersive experience – Characters facing the audience for most of the play were both unsettling and represented the inner mind of Pepys.
The makeup was about right for signalling fire victims but it was also successfully used to frighten the audience, who watch blood slowly drip from the crown of The Monarchy onto his pale face.
Co-writers Madelynne Kester and Sofia Sculati deserve extra kudos for the screenplay, which was both serious and filled with dramatic, and even comedic, timing – something that the cast performed notably well.
I was particularly impressed by the use of Pepys’ diary excerpts to tell parts of the story. It reminded the audience of his impact on history, something that can still be appreciated among the cheating and lying.
However, the ending was abrupt, and I’m not sure that I can entirely blame the quick turnaround of Fringe shows.
There was an excellent build-up to the end with the dramatic Great Fire of London sweeping the city. Teddy Finlow rose from the audience to recount the fire to a now blind Pepys.
But when the clapping started, I was left wanting just a little bit more drama – more comedown from the unravelling of Samuel’s life, just more.
I would love if the show further explored Pepys’ psyche. His eventual breakdown could have been as gruesome and unsettling as some of the other characters – I mean, he has been hallucinating the dead without realising it.
Although, having said that, the play was only 45 minutes long. The ambitious undertaking of five historical characters was executed well and underdevelopment was not an issue, especially considering the range of characters on stage.
So if my only criticism is that I wanted more, In This Body of Flame has done incredibly well as a Fringe-debut student production. A testament to the University, this group are one to look out for in future cast lists.
You can still catch the show at Paradise in The Vault until Sunday, August 25. Tickets can be bought here.
Featured Image Credit: Stirling University Drama Society.
Fourth-year English and Journalism student.
News Editor 2024/25.
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