Eline Arbo's adaptation of Annie Ernaux's 'The Years' has transferred to the Harold Pinter Theatre, opening to widespread critical acclaim. In this inventive production, five actresses deliver extraordinary performances as they embody a woman at different stages of her life. Here's what the critics are saying about The Years.

London Theatre Direct
"The production prompts big questions: Who are we supposed to be? How will we be remembered? The Years does not offer an answer, only the aching reminder of what we must ask ourselves before it's too late, and to enjoy the time we have whilst we're here. And what an enjoyable time it is to spend 2 hours in its company. I urge everyone to go."

BroadwayWorld
"Arbo has woven a gorgeous interplay of stagecraft and storytelling that doesn't just deserve a West End transfer but wholly justifies itself as theatrical adaptation."

The Stage
"Each actor brings a unique quality to the table: Mohindra is curious and watchful, and Rose-Bremner joyfully spirited. Garai embodies defiance, with Findlay restoring a sense of equanimity. McKee, meanwhile, seems to charge the audience, as she embarks on an electrifying bender through the troughs and peaks of desire, grief, hilarity and hysteria."

The Arts Desk
"Perhaps the most satisfying thing about Eline Arbo's superb adaptation is that it projects this idea through, fittingly, one of the most truly collective performances London has seen in years. More than that, the communal embrace extends to the audience, in ways that are not always comfortable the life portrayed, from 1941 to 2006, has its share of hardship but add to the play's resonance and appeal. Brilliantly conceived, consummately choreographed and beautifully acted by its all-women cast, it is a bravura, and joyous feat of storytelling."

London Theatre
"Ernaux's memoir defies form it is both personal and objective, employing the collective we' to discuss communal experiences. The word I' is absent in her writing, but Arbo brings us even closer to Ernaux by relaxing this objective stance in choice moments, such as a forced first sexual encounter and an abortion scene. The result of both is shattering, thanks to moving and raw performances by Mohindra and Garai. The latter performance, which has been the subject of numerous headlines since the play's first UK outing at the Almeida Theatre in 2024, is particularly brave from Garai, as she bucks on a table, toes curling, her thighs coated in blood. The scene is horrific without being gratuitous, though the show's well-signposted trigger warnings are much needed."