From page to stage

Reading Elena Ferrante’s Neapolitan quartet is a heady experience. You not only see, hear, know her characters — you can almost taste them. The villain of the first of the four books, which follow the friendship of mercurial Lila and striving Lenù from childhood into their sixties, is Don Achille, an ‘ogre’ who sweats the smells of ‘salami, provolone, mortadella, lardo and prosciutto’. Lila herself, always wriggling free of the nets of others, is ‘skinny, like a salted anchovy’. Nino, loved by both Lila and Lenù, is ‘an anomalous, sweet fruit’. Naples itself, the backdrop to the books, acting as a succubus, pulling the characters back when they try to escape, stinks of the exhaust from Fiat cars, the roasted almonds of the street sellers, fried pizza from the cafés.

How do you put all that on stage? On the page, on the nearly 1,600 pages of My Brilliant Friend (childhood), The Story of a New Name (adolescence), Those Who Leave and Those Who Stay (young married life), and The Story of the Lost Child (maturity, success, bereavement), you lose yourself in Lenù and Lila, in six decades of slights, quarrels and alliances, triumph and betrayal, vendetta and omertà, feuds and petty hair-pulling.