It was clear that the production would maintain it’s original time setting, as soon as you entered the auditorium '80s music was playing. The set was made up of mountains of books and was clearly a stereotypical professor's office. I had read Educating Rita but had never seen the film or a stage version, so it was with trepidation I waited for the start. Knowing Willy Russel himself has been heavily involved with this production only added to my anticipation. This was clearly a draw for others too, as considering it’s a Monday evening the theatre was packed. The audience being made up of a mix of people of all ages again attests to the universal pull of his works. I wondered how this production, firmly set in the '80s, would resonate with a modern audience?
As it started we saw a dishevelled professor (Stephen Tompkinson) on stage with a booming lecturer's voice and a clear wit. The jokes came thick and fast and it was not long before Jessica Johnson playing Rita, burst on to the stage. Her energy and vivacity brought a sharp contrast to the apathetic and disenchanted Frank. It was a stark difference but a complimentary one.
The chemistry between the two leads was undeniable, they played their relationship to perfection and brought a power and beauty to the words of Willy Russell. There was a clear paternal relationship that shifted and changed throughout without ever losing the connection the characters possessed.
The set was placed at the edge of the stage, extremely close to the audience. This allowed the audience to feel a part of the intimate scenes. The proximity of the stage was slightly unsettling and made me feel a little claustrophobic but I realised this was the point. Rita feels claustrophobic in her life, trapped by her lack of education and opportunity. Frank is likewise trapped and claustrophobic by the constraints of academia. The fact Frank never left the stage meant you were always tuned into the performance, their was never any let up. This helped you to sympathise with the characters' own journeys.
For the two hours I was fully engaged, both mentally and emotionally with the characters. I cared. I wanted to know which character was right, who I felt had changed, the motivations for the changes, who had ultimately helped who. I needed to know.
Jessica Johnson as Rita gave an excellent performance. Her Liverpudlian accent was a little "iffy" at times but this can be overlooked by the sheer innocence, insatiable drive and joy she brought to the role. This was seen from the constant movement round the stage to the over pronouncements of random words to show her newly acquired knowledge or sophistication. She has a hope that is seen through her constant reaching, whether for books, her hair, or the back of a chair. It is with this subtlety of movement that Jessica Johnson makes such an iconic character her own.
Stephen Tompkinson has professed his love for this character for a long time and it was apparent to see in his portrayal of him. His subtle reactions and bravado brought a real pathos to the role. His drunken stupors were played with humour that still evoked pity and a little frustration.
My wonderings about how a modern audience would react to an '80s play were answered with standing ovations and rapturous applause. This is a play that endures and is still as relevant today, in our times of tuition fees and economic down turn. It plays with our perceptions of education and learning but more importantly makes you care.
I left the performance, having laughed, cried but most of all having cared about the characters and their journeys. This is the beauty of this performance.
Reviewer - Francesca Eager
on - 20/5/19
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