Eye opening, thought-provoking and flawlessly executed – Eline Arbo’s adaptation of Nobel Prize winning Annie Ernaux’s Les Années is a must-see at the Harold Pinter Theatre in London’s Leicester Square.
The play, following the life-span of a French woman born during the second world war, illustrates the impact of societal, cultural and legal evolution on women’s lives, with dramatic scenes of a graphic, backstreet abortion and scenes of a sexual nature as the character ages in an ever rapidly shifting cultural landscape. It is, what C. Wright Mills, would call the staging of The Sociological Imagination, the study of individuals within social structures of society and how it impacts their everyday life.
A history lesson for those studying progress, a theatrical triumph for lovers of drama, and a gift to admirers of Annie Ernaux—this production offers something for everyone.
I was particularly drawn to the appropriately timed, precisely performed and impeccably presented humorous, light-hearted scenes. It takes a genius like Eline Arbo, who directed this theatrical masterpiece, to punctuate a serious play that is highlighting historical challenges with well received, laughter inducing lines.
Romola Garai’s performance was, however, what I was most struck by. Tasked with delivering the play’s most agonising moments — including the deeply affecting backstreet abortion scene— she brought a raw, visceral intensity that left an undeniable impact. Scenes that were so powerful that the play had to be interrupted so that some audience members could exit the venue because it was overwhelming for them. It served as a stark reminder of both the progress we’ve made and the battles that remain. As the director and adaptor, Eline Arbo, said to Stephanie Bain, Head of Programming and Literary at the Almeida: “It’s easy to take how thing are now at face value, but it’s also important to recognise the battles that have been fought for us to have the rights we have today. It acts as a reminder not to lose touch with that history”.
Another performance that I was particularly captivated by was that of Anjli Mohindra, soon to be seen in Fear and Get Millie Black. Scenes of a sexual nature – depicting masturbation, losing virginity and her role as a partner to Deborah Findlay were handled with remarkable sensitivity.
All the cast members – Deborah Findlay, Romala Garai, Gina McKee, Anjli Mohindra and Harmony Rose-Bremner – worked meticulously well as a team to bring history, struggle and progress vividly to life.
You’re missing out if you still haven’t seen the play, so book your tickets here: https://www.haroldpintertheatre.co.uk/shows/the-years
Read more here:
- Interview With Ali Rehman Malik: Evacuating Afghanistan’s Women Athletes
- Markus Leitner, Switzerland’s Ambassador to the UK, hosts discussion on sustainable finance
- Switzerland’s Embassy celebrates its 10th Anniversary in Oman
- ‘Switzerland Tourism’ wins Digital Innovation of the Year prize at the Digital Economy Award 2024
- Two villages in Switzerland designated Best Tourism Villages 2024 by UN Tourism
- Saudi Arabia gifts 100 Tons of Dates to Pakistan: A Symbol of Solidarity and Friendship
________________________________
By Raza Hussain | Recently featured in The Telegraph, SKY News, The i Paper, POLITICO Europe and Tim Walker’s column | Editor of www.NewsLeaf.com | Currently a Senior Advisor at a think tank and a foundation | Former social media officer at Gina Miller’s True & Fair Party | Extra-Mile Winner of the Newsquest Young Reporter Scheme (2014) | Talent for Writing certificate by Young Writers (2015) | Travel blogger | Prize for Outstanding Achievement in Sociology (2019) | Social media PR and political communication
