Review of ‘The Years’: “Long-time memories, but short endurance”

London’s Harold Pinter Theatre hosts the West End transfer for the Almeida Theatre’s stage adaptation of Annie Ernaux’s acclaimed book – depicting half a century of history through the eyes of women’s rights. Guillermo Nazara shares his views on the show, to let us know if this piercing journey into the old days manages to get a pass into our present.

All that we achieve today is due to the success of those who walked a harder path before us. We usually hear stories of how things used to be different back in the day. But how often do we really stop and reflect upon how much others fought for us to be where we are now? I, for example, will likely be remembered as the Spaniard who invaded the British scene as a revenge for taking Gibraltar away from us, and I think it’s beautiful – and probably irrelevant to this review, but here we are.

Jokes aside, I must confess that social justice conquests are a particular brand of storytelling that has always hooked me – as long as they are meaningful, universal, and avoid being a beacon of self-righteousness. The Years doesn’t fall into the preachy box, but it doesn’t come as a highly relatable, touching effort either – building a proper skeleton for a compelling narrative, but failing to endow it with the heart, soul, and eventually, all the remaining vital elements to make of it a significant, indelible journey.

Directed and adapted by Eline Arbo after Annie Ernaux’s book, Les Années, the play take us through the evolution of French society all through the second half of the 20th century up until now – told through the perspective of women’s rights and their subsequent role in the community. It’s an appealing theme that, though not the newest, still has the potential to bring an element of uniqueness and individuality if channeled through personal verity. And to be fair, there’s a level of that, but only very mild.

Relying on a choral cast swapping their roles along the performance, its Brechtian approach, relying on some experimental staging techniques, creates an enticing set of visuals that also keeps an ongoing pulse all throughout. But this alternative aesthetic style (compelling, nonetheless) does not translate into emotional power or recounting grip – in fact, it may be preventing them.

The not-too-deep construction of its characters, as for the manner they are presented, doesn’t soften the issue either. Their observations are poignant, even sharp at some bits – but all in all, we’re left with an amalgamation of ideas that lack the necessary humanity to move an audience. There are moments of striking stir, but those are generally accomplished through the edge of the situation rather than the care we, as viewers, profess towards the personages – which, sadly, comes as quite limited.

As a result, we can be entertained by some of the events we’re introduced to, but it hardly resonates with us in a way that we are committed into the ride we are taken on – its slightly weak ending, deprived of proper conclusive strength, only adds up to the bittersweet aftertaste we’re left with.

Yet, we can still redirect our enjoyment to the company’s excellent endeavours, all of whom flaunt great flair, chemistry, and ease in their portrayals. Among them, the highest praise goes to Romola Garai due to her seamlessly adroit, ever-changing multi-role rendition, as well as Gina McKee – boasting great command onstage through her drawing presence and perfectly timed dry comedy bone.

Some stories look upon the future, some others dwell within the past. Regardless of which turn they take, they all must share the same final destination: to have an impact on whoever experiences today. The Years is far from leaving us in a cold state of mind, but it lacks the sentimental prowess to transfix and, ultimately, penetrate into our spirits with enough determination and memorability. It’s a nice depiction of our most recent history through the eyes of a specific cause, but as for its imprint in the viewer’s soul, we may have to wait for the next generation.

All pictures credit to Helen Murray.

The Years plays at London’s Harold Pinter Theatre until 19 April. Tickets are available on the following link.

By Guillermo Nazara