The Inseparables at Finborough Theatre Review
Written by Sarah for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
France, 1910. Nine-year-old Sylvie and Andrée meet at Catholic school and become fast friends. Together they navigate the suffocating middle-class expectations of women and the complexities and conflicts that arise growing up in a volatile world at war.
The Inseparables has been written for the stage by Grace Joy Howarth, based on a semi-autobiographical novel by the feminist savant, Simone de Beauvoir. The story was deemed ‘too personal’ to publish during her lifetime, with her husband (Jean-Paul Satre), concerned that it would undermine her other literary, intellectual and philosophical works. Despite being written in 1954, it was not released until 2020, along with other previously unpublished works.
The Inseparables reveal a more vulnerable side of De Beauvoir, represented in the character of Sylvie, and her intimate friendship with Andrée. The pair have a deeply emotional and intellectual bond, sharing a passion for literature and frustration at the confines of their religious and social situation. They spend school summers with Andrée’s family and are ‘inseparable’ until that is, Pascal enters the scene as a potential suitor for Andrée.
Unfortunately, the intimacy and depth of connection between the young women at the core of this story are lacking in this production. For much of the play, the girls talk and share interests and ideas, but there are very few actual events or drama to invest in. The script is an adaptation of a translation of a novel, which is challenging in itself and perhaps a little too ambitious for the confines of the production and skills of the creative team. It is absolutely on brand for the Finborough to unearth this unique glimpse into a side rarely seen of such an icon, and a gallant attempt to stage it for the first time.
For the most part, the words aren’t quite lifted off the page, due to a combination of factors, and sadly there is little development of character or relationships. The lovely costumes are the only indication that the girls are ageing and the play is beset with missed opportunities. The stage is a naturalistic French interior which is efficiently used and pleasing. However, there are moments where the lack of attention to detail is jarring; the prominent charity shop price sticker left on the sole of a shoe, the representation of driving a car that appears to be on the wrong side of the road and the actors walking out of their light. The minor points can be ironed out easily, but the fundamental issues require a lot more time and work, and therefore money, which is the biggest challenge for theatre makers today.
The overarching feeling is that it could work brilliantly as a radio play. The passages of first-person narrative, weaved into shorter scenes with some creative direction, soundscapes and music would provide focus, and a sense of place. This would allow the audience to conjure the scenes and a sense of intimacy.
At Finborough Theatre until 10 May 2025
★★
