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.
THE INSEPERABLES
Finborough Theatre
Reviewed on 17th April 2025
by Jonathan Evans
Photography by A.J. Halsey and Melanie Silva
Previously reviewed at this venue:
THE PASSENGER | ★★★★ | February 2025
KAFKA | ★★ | June 2024
THE TAILOR OF INVERNESS | ★★★ | May 2024
BANGING DENMARK | ★★★ | April 2024
FOAM | ★★★★ | April 2024
JAB | ★★★★ | February 2024
THE WIND AND THE RAIN | ★★★ | July 2023
SALT-WATER MOON | ★★★★ | January 2023
PENNYROYAL | ★★★★ | July 2022
THE STRAW CHAIR | ★★★ | April 2022
