DIRECTOR: ELINE ARBO
ADAPTER: STEPHANIE BAIN (ENGLISH VERSION)
WRITER: ANNIE ERNAUX
CAST: DEBORAH FINDLAY, ROMOLA GARAI, GINA MCKEE, ANJLI MOHINDRA AND HARMONY ROSE-BREMNER.
ENDS 31st AUGUST 2024
ALMEIDA THEATRE, LONDON N1
DEBORAH FINDLAY, ANJLI MOHINDRA, GINA MCKEE, HARMONY ROSE-BREMNER, ROMOLA GARAI (PHOTO: ALI WRIGHT)
REVIEW by KATHLEEN BONDAR
"The Years published in 2008 throws the novice in at the deep end."
For those unfamiliar with the works of French author and Nobel prize winner Annie Ernaux, Eline Arbo’s adaptation of Ernaux’s seminal novel The Years published in 2008 throws the novice in at the deep end. Going with the metaphor, there’s a lot of drowning in Ernaux’s frank accounts of her first sexual encounter by rape and a traumatic, illegal abortion during the sixties. But there are chances to gasp for air, buoyed by plenty of humour and set design inventiveness.
Five actors with little resemblance to each other except gender, enact Ernaux’s life experiences spanning the post war years to the early millennium. They present five stages of her life - girl, teenager, young woman, menopausal and older woman. In turns, they stand aside commentating on whichever Ernaux is in the spotlight, rather like a Greek chorus.
"hilarious observational gestures..."
Occasionally, they shape into others with hilarious observational gestures, namely boys and men - charging about, mansplaining with questionable politics, competing on tech know how. French & Saunders nailed the male persona to perfection (sleezy security guards in fat suits spring to mind), but this cast deserve equal commendation.
"gruelling accounts of Ernaux’s experiences which caused a great stir..."
The ability to convey so much with minimal expression by each of the actors pervades the play. They also chuck everything at it, most notably Anjli Mohindra (Doctor Who; Bodyguard; Miss You Already) and Romola Garai (Vigil; The Following Events Are Based on a Pack of Lies; Becoming Elizabeth) who present the two gruelling accounts of Ernaux’s experiences which caused a great stir affecting members of the audience during the first days of the performance run.
"the most innovative use of white sheets..."
The creative team have come up with the most innovative use of white sheets which perfectly embody the female experience across generations. There is the tablecloth upon which women serve meals and under which girls hide and masturbate (and there is a lot of that). There is the bed sheet which soaks up menstrual and pregnancy blood. Then there is the political banner proclaiming “choice” for women in ‘68. The white sheet acts as a backdrop for family photos and portraits providing insightful vignettes of Ernaux’s life. Wittily, the sheet is scrunched into baby shapes, boys (sons), men (lovers) and even a beloved cat on its deathbed.
Costume, however, rather loses its way sidestepping historical accuracy with an indeterminate mishmash of monochrome skirts and tunics. Mind you, Romala Garai pulls through on the hair side sporting a French pleat to die for, whilst Gina McKee (Catherine the Great; The Rook; The Street; My Policeman) wins the award for greying gracefully.
"Essentially Ernaux is a chronicler of the self..."
Essentially Ernaux is a chronicler of the self and as herself she brings humiliation, desire, physical pain and pleasure, boredom and affectation into the public sphere with unassuming, dry observation. Her experiences resonate for many women and at the same time cast a light on the hidden side of female experience. She does this with a sweeping take on the social and political to boot. Almeida’s stage adaptation of The Years certainly does Ernaux justice.
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