Review by Daz Gale
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Memory is at the heart of the latest production to play at the Almeida Theatre as the UK premiere of the Nobel prize-winning The Years explores a life spanning over decades. Already critically acclaimed from its International debut, could The Years repeat the success over here or would it prove to be a show I’d struggle to remember?
Based on Annie Ernaux’s autobiographical novel Les Années, the stage adaptation of The Years premiered in the Netherlands in 2022 and now makes its UK debut in a translated English version. It looks back at the life of one woman navigating a rapidly changing world in post-war Europe with five actors portraying her in different stages in her life. Through personal circumstances, we chart her loves and losses as she grows from adolescence to adulthood into old age, all against the backdrop of an ever-changing political climate.
Eline Arbo’s adaptation beautifully translates Annie Ernaux’s text to create a rich and layered world that manages to be both intimate in its nature and grand in scale as it balances the personal changes and growth of one woman against a bigger picture of a changing world. As the woman in the story discovers her identity and sexuality, references to what is going on in the world play out drawing interesting comparisons making the story feel bigger while never losing the intimacy of its character exploration.
Arbo’s writing is exquisite throughout. Translated into English by Stephanie Bain, it feels refreshingly unconventional in parts, it never shies away from digging deep into its subject matter and never attempts to gloss over any part of the story. While this can result in an uncomfortable nature which may prove too much for some audience members (this is a show where I would advise checking the trigger warnings first), its execution is awe-inspiring. While an early masturbation scene may come across as explicit, the awakening it provides in the woman, Annie, more than justifies its place in the play.
One particular scene has already generated some headlines, due to audience members fainting during it in one performance. The scene in question sees Annie describe an abortion she had in stark detail and an authenticity few plays manage. The result is one of the most harrowing scenes I have ever witnessed in the theatre, but one that was flawlessly realised. Though it will undoubtedly make people uncomfortable, the writing, direction, and performance came together seamlessly in this scene to encapsulate theatre at its best. The deadly silence that filled the theatre during this scene showed a gripped audience sharing a truly powerful moment. In a consistently strong play, this is the moment I will remember for a long while yet.
Eline Arbo’s direction meticulously brings Annie’s story and writing to life in a deceptively simplistic fashion. Through the device of describing photographs that pave the way for a chapter in Annie’s life, each scene plays out, speedily moving through decades and an entire life in a clever and playful form. Juul Dekker’s design leaves the Almeida’s brick wall fully visible with a circular stage gradually coming to life through the simple use of sheets. As the play progresses, each sheet finds itself altered in some way, eventually hanging up for all to see. This turns into a tapestry showcasing an entire life in simple images, with a final trick as the play draws to its close creating a beautifully poignant aesthetic.
Five women take on the role of Annie throughout her life, jumping in to play other characters and narrating the story when it isn’t their turn front and centre. Spanning different generations, the nature in which each cast member hands over to another as their time as Annie comes to an end and an older version steps into the role is a beautiful metaphor for the story and the nature of life itself as the baton is passed. Working together as an ensemble cast, all five excel in their performances, making it impossibly hard to single out any standout performance amongst them.
The story begins with Harmony Rose-Bremner as the youngest Annie. While her time in the role is comparatively short (such is the nature of childhood), her sweet portrayal makes a lasting impression as does her musical talents throughout the play. Anjili Mohindra channels Annie through her teenage awakenings, taking on raw moments that are played with a comedic flair and authenticity. Romola Garai astounds in her time as young adult Annie, delivering the aforementioned abortion scene with talent and sensitivity like nothing I have seen before. By the time she hands the reigns over to Gina McKee, she has made a lasting impression.
Gina McKee gives a fantastically understated approach to Annie as she moves into middle age with the most subtle of changes in her facial expression providing one of the biggest laughs of the night – a testament to both her performance and the direction. McKee shines in her time in the role, handing over to Deborah Findley who gets to portray Annie in her older years. Findley expertly narrates the conflicting feelings as she grapples with moving into the latter time of her life and confronting her mortality. Each of the five performances manages to play the role distinctly differently, putting their stamp on the role. Crucially though, all five feel true to Annie in herself with the essence of her being felt throughout as the changes that are faced as we grow older are incredibly represented.
The Years manages to surprise in some of its sequences with its foray into the 1980s providing one of the more unexpected but comedic moments of the play. As the five performers give us their best rendition of ‘Tell It To My Heart’ while attempting to keep up with a routine, the sense of fun in this number is a perfect reflection of some of the more joyous moments in life and the disparity between generations as they try to keep up with it. It is this uncertain nature that makes The Years constantly exciting, never knowing where you are going next, what tone it will be, and what feelings may be forced upon you in a matter of moments. Through an inspired use of music, this is an atmospheric production, almost immersive, and one that thrills throughout.
Through a singular act coming in at just under two hours, The Years takes you on a whistle-stop tour of one person’s life. While it took a while to grab me, once it took hold of me, there was no going back. Incredibly written, flawlessly directed, and phenomenally acted, this is a powerful play that speaks of the fragility of life and makes us confront our mortality and think about our time on this Earth. Beautiful in its simplicity, The Years manages to be life-affirming, heartbreaking, and thought-provoking throughout its short time on stage. This poignant production is a truly special piece of theatre that left its mark on me, ensuring it will be one play I‘ll always remember.
The Years plays at Almeida Theatre until 31st August. Tickets from www.almeida.co.uk
Photos by Ali Wright