★★★

“The dialogue throughout is intricate and precise”

Oh, to be young and free. To have one’s whole life ahead of you. Well, all is not as it seems. Dick is a powerful immersion into the dangerous desires of youth and the burden of potential – the idea that you could be anything, but will you be something?

Five friends reach the age of 26 and become afraid that ‘their youth’ may be behind them. No, not afraid, rather obsessed. Despite their obvious youth, they feel an urgency to push the boundaries without any caution and with dangerous consequences. The show is an exploration of love, lust and the unexpected precariousness of self-indulgence.

We start with the friends dancing in a nightclub. The mood is euphoric and joyous. We quickly move to a heated discussion about their differing views on sex. This is where our central characters emerge. The protagonist of the show, Noah, is remarkably condescending and masquerades his ignorance as intelligence. He insists on being right and ensures he is by interrupting those who disagree and hides his insecurity by living in the hypothetical rather than reality. Joseph Lynch is very impressive in the role.

The others emerge in this debate too. Bailey is quieter but the fire within their soul is unmistakeable. Andi Bickers is an unstoppable force in the role. Ruby (Frederick Russell) is vibrant and vivacious and provides the necessary antidote to Noah. Our remaining two characters are Ruby’s sister, Cleo (Nina Fidderman), and friend River (Max Brennan), who allow us to see the story through other perspectives.

The dialogue throughout is intricate and precise, which allows us to see a range of angles on the key themes. However, it is slightly too detailed. Because of this it feels like the punchlines don’t always land, and in fact, it often feels like the most action is happening when there is the least talking.

Significant plot events are marked by live costume changes. This is a smart addition as otherwise the scene changes would be sudden and unobvious. Credit must go to Katie Shores (costume design) as this forms a critical driver of the plot. The friends start the show wearing bright clothes but move to more greyscale outfits as the scenes darken.

Initially, it seems that Noah will be our martyr for the cause of hedonism and soul-searching. Of course, he would like it to be him. “I would die if I thought I would get away with it,” he tells us. But the show is not just an exploration of one’s own path to self-destruction. It is a warning about the effects that one’s self-indulgence can have on others, who often end up with greater suffering. “You are addicted to poison, and it comes out of your mouth,” Bailey tells Noah. This is the punchline that the show does manage to land, and the production makes great use of audio (Polly Dacam) and visual effects (Harriet White) to do this.

The development of the characters of Noah, Ruby and Bailey is excellent. However, it feels like five characters may be too many for this story. Max Brennan and Nina Fidderman are exceptionally composed and accurate as River and Cleo respectively. However, we don’t see enough of them, and their performances deserve a greater part of the story. Moreover the show is too long, with the length not commensurate to the amount of plot that we watch.

However, the critical element of this show is not its shortfalls in areas of the drama. It is what it warns us about, the real experiences of young people and the dangers of over-indulgence.

THE INSEPERABLES

Finborough Theatre

★★★

“there is a lightness to this interpretation, and a guarded feel that at times shields its essence”

Rather than her novels, Simone de Beauvoir’s most enduring contribution to literature are her memoirs. It is no surprise, therefore, that the novelist, philosopher and feminist activist’s works of fiction also contain strong elements of autobiography. Particularly her early novella, “The Inseparables”, which describes her relationship with her classmate – Elizabeth Lacoin. Also known as ‘Zaza’, she crops up in other novels in disguised form, so it is evident that she had a lasting impact on de Beauvoir’s life. “The Inseparables” was never published during her lifetime. Jean Paul Sartre disapproved of it, and it was deemed ‘too intimate’ at the time. There has been much conjecture since as to whether they were ‘just friends’. There is no evidence of a physical relationship, but it is hard to deny that there was an attraction and erotic tension between the two of them.

Grace Joy Howarth’s stage adaptation is a faithful recreation of the adolescent relationship, although it does little to suggest why it was considered too provocative for publication in the nineteen-fifties. Set during, and just after, the first world war in France, it kicks off with the first encounter between schoolgirl Sylvie Lapage and new pupil, Andrée Gaillard. Sylvie had previously prayed for an end to the war, but the answer arrives in the form of this beguiling new classmate. Lara Manela captures Andrée’s playful tone, and Ayesha Ostler, as Sylvie is suitably captivated. Both portray the wide-eyed wonder of nine-year-olds without seeming childish. The subtle mannerisms illustrate the precociousness, but neither is afraid to wallow in youthful exuberance.

Sylvie (the fictional de Beauvoir) is bored and intellectually lonely, so meeting this clever, irreverent girl changes her life. Andrée is physically confident and has a talent for literature and music. It is easy to see why Sylvie would be attracted, and likewise Andrée’s fascination with Sylvie’s vulnerability that Ostler conveys so convincingly. However, beyond this, the chemistry is somewhat lacking, barely penetrating the intellectual veneer. Sylvie talks as much to the audience as to Andrée, which is a neat device that director Anastasia Bunce uses to good effect, but the writing leaves little room for the underlying eroticism and tension. The scenes are short and sharp, sometimes leaving the two, multi-rolling supporting cast – Caroline Trowbridge and Alexandre Costet-Barmada – breathless from their rebounding entrances and exits.

The second act finds the girls on the cusp of adulthood, Andrée now betrothed to Pascal Blondel (a slightly restrained Costet-Barmada). The tables have turned, and Sylvie is supposed to be the more subversive influence. The play never really gets to grips with the rebelliousness, and we are distanced further from the knowledge that these characters are representations of historically significant individuals. We are steered towards some poignancy in the final scenes, but the sense of inseparableness is never fully realised by Ostler and Manela. When Sylvie declares of Andrée that “life without her would be death”, the words aren’t quite supported by the emotion.

Abraham Walking-Lea’s lighting evokes the setting, reinforced by Jessica Brauner’s more literal video backdrops. Metaphorical flourishes are thrown in by Bunce, sometimes illuminating (the symbolic significance of Andrée’s violin); at other times confusing (the scattering of roses to depict an act of self-harm). But overall, there is a lightness to this interpretation, and a guarded feel that at times shields its essence. With its engaging central performances, it glides safely through the pivotal episodes of the novel. The story calls for a less gentle ride though. With more passion. The original question of whether they were ‘just friends’ is left unaddressed and long forgotten. But we do get a good feel of the camaraderie, and mutual regard, even if we are not quite convinced that they are inseparable.

Category Archives: Reviews

DICK

★★★

Drayton Arms

DICK

Drayton Arms

★★★

“The dialogue throughout is intricate and precise”

DICK

Drayton Arms

Reviewed on 17th April 2025

by Luke Goscomb

Photography by Abigail Dawn

Previously reviewed at this venue:

SARAH QUAND MÊME | ★ | February 2024

DICK

DICK

DICK

THE INSEPERABLES

★★★

Finborough Theatre

THE INSEPERABLES

Finborough Theatre

★★★

“there is a lightness to this interpretation, and a guarded feel that at times shields its essence”