Annie Enaux’s Nobel Prize winning memoir The Years, is adapted for the stage by Eline Arbo, artistic director of International Theatre Amsterdam and is bought to life by five different actors of different ages. After a critically acclaimed run at the Almedia Theatre, The Years finally transfers to the West End and finds its home at The Harold Pinter Theatre.

This multi-generational story begins during World War II and travel across time, ending in the modern day. The script is a personal story, which cleverly interlinks historical points in time such as the fall of Berlin wall, legalising abortion and the creation of the contraceptive pill. With Van Vuure’s sound design and Juul Dekker’s set blend perfectly, each being minimal, but not simple; each sound and prop conjure up some form of nostalgia. The same nostalgia one gets from looking at a photo, which is the main focus of this play, but I won’t spoil how.

The phenomenal ensemble is made up of Harmony Rose-Bremner, Anjli Mohindra, Romola Garai, Gina McKee, and Deborah Findlay who all play the unnamed woman in key moments in her life. The calibre of acting on the stage is nothing short of exceptional and peak storytelling – each supporting the other when it is their turn to hold the baton. They laugh, sing, cry and hold each other through the challenging times and fun times. I do have to shout out, Rose-Bremner gorgeous vocals which helped set the tone in many key scenes – happy, romantic or sad. Gina McKee, is mesmerising on stage. Holding a regal stature of a confident woman who is finally allowing herself to succumb to her sexual needs and desires. It is very gratifying watching a woman of her age own those highly-sexual moments.

The care and detail that has been poured into this show is beautiful, especially during the abortion scene, which when it comes to it is a hard watch. That moment in her life is dramatised by Romola Garai, whose guttural screams are impossible to describe, paired with the graphic image of her blood-stained legs – it is a harrowing , but important watch. In that moment, we are witnessing the harsh reality of what women had to endure at that time and she rightly states, “This thing has no place in language.”

At the end of the play each tablecloth which has been stained or defaced with graffiti throughout the woman’s life are draped over the actors like a washing line of memories. This simple direction amplifies those tough moments and how she has overcome them. This is followed by, for me the most beautiful moment, when the five women all come together and for first time, we clearly see each of their faces via a live transmission; all I can say to them is bravo!

Running at nearly two hours long, with no interval you feel the presence of time during the heavier, more intense scenes. Wanting to take a break, but not having one is a clever idea as Annie wouldn’t have had that break in her life, so why should we?

I highly recommend The Years, just familiarise yourself with the trigger warnings placed around the theatre. You can catch this masterpiece at The Harold Pinter Theatre in London until 19th April.

⭐️⭐️⭐️⭐️⭐