In a small village in the north of France, the gentle and sensitive Eddy grows up in a mundane, vulgar, and merciless working-class environment. We follow him during his many attempts at being a 'normal boy'. To his detriment, he is nothing like the children around him. His posture, his manner of speaking and even his walk earn him as much humiliation from his classmates as from his alcoholic father and bossy mother. Even before he has the slightest inkling of desire, many people assume he is gay. By telling his story, Eddy reveals how stifling this environment is. Will he be able to break free?

In 2020, director Eline Arbo made her own theatrical and musical adaptation of this novel for Toneelschuur Producties. She was awarded the VSCD directing award for this theatrical hit and the performance was selected for the Dutch Theatre Festival. The original cast from 2020 was nominated for the Louis d'Or, which at the time was the theatre award for best male lead. Four young actors played all the characters and also shared the lead role. It was the first time that multiple actors were nominated as one for one part. 'As if it were a compelling choreography: text, music and stage design are constantly interacting with each other, resulting in a colourful and unpredictable evening of theatre,' the jury rapport stated.

ELINE ARBO ABOUT THE END OF EDDY

'The first time I read The End of Eddy, I was blown away by the raw energy, the recognisable teen angst, the clever social criticism, the sense of injustice, and the protagonist's battle to claim a place in the world.

The story is deeply personal, yet at the same time universal. We get a glimpse into the life of a boy trying to grow up in a village and in a family in which there is no room for anyone who is different. Like a chameleon, he tries to fit in. But in the end, he makes a break from his past and creates a life in which he is allowed to be himself.

I am still proud of the stage adaptation I made of this book in 2020. Sadly, we still live in the same world today as we did then, in which people are discriminated against because of their sexual orientation. That is why I think it is important to keep telling this story. Thanks to ITA's repertoire system, the performance can continue to exist, as requested by many.'