Educating Rita is a heart-warming and hilarious comedy written by Northern playwright Willy Russell. This two-hander, made famous by the award-winning movie of the same title, stars Stephen Tompkinson as ‘Frank’ and Jessica Johnson as ‘Rita’. The play also has accrued its own award-winning titles, having been awarded an Olivier Award when it was produced in London’s West End by the RSC.
The multi-award-winning film starring Michael Caine and Julie Walters, adapted from the play in 1980, remains true to the theatre performance, which tells the story of married hairdresser Rita, who enrols on a university course to broaden her horizons. For her, a higher education symbolises social elevation. The story follows her weekly encounters with tutor Frank, and we see how the pair find solace in each other, and an endearing relationship blossoms between them. This evening's performance was full of pathos and poignancy, and we were treated to outstanding performances from both.
Frank is a disillusioned poet, brilliant academic and a dedicated drunk. Tompkinson portrays an antiquated, and over-elaborate tutor, who appears less than enthusiastic about taking on Rita. I particularly enjoyed seeing Tompkinson in a role quite different to those of his TV fame. He was brilliantly buoyant in his opening scenes, as he remarks scathingly to his partner ‘Juli-ah’ about his Open University tutee. He performed with passion, and delivered his lines with humour. You could be forgiven for mistaking Tompkinson’s performance as a caricature, but when necessary, Tompkinson brings sincerity and desperation to the part, as we see him spiral into the depths of drink and depression, ultimately leading to his sabbatical, and the demise of his relationship with Rita. A real treat to watch.
Rita, played by Jessica Johnson breathes life into the performance. We see her grow, as her confidence in herself develops along with her determination to succeed. You cannot help but warm to her. Johnson delivered her performance with excellent pace and the chemistry provided between the pair was sublime. The two worked seamlessly to read each other’s movements, respond to emotion and to convince the audience that these two truly care for each other, despite their apparent differences.
There was a real on-stage chemistry between the two actors and it worked seamlessly. Towards the end of act two, Frank begins to fall into despair as he witnesses how Rita is changing, how perhaps he has shaped her, not only academically, but spiritually, as she leaves behind the girl she once was. Worse still for Frank he has started to have deep feelings for Rita as she breathes life into his dull alcoholic existence. Conversely Rita blossoms, leaving behind her old life. She develops a real love of the arts and certainly becomes more than a match for Frank when debating the arts. Both Rita and Frank realise that they have outgrown each other as tutor and student and ultimately Frank’s feelings go unrequited.
For me there was something to admire in both actors, not least of which how quickly Johnson had to change between scenes to show the passage of time. These scene changes were covered by some very underplayed movement by Tompkinson, and some very apt music. For me, two scenes stood out. One where Rita tells the story of a night out with her friends and family, and the final scene between Frank and Rita as they effectively say goodbye. The last scene was so genuine and heartfelt, you could truly appreciate the real meaning of the piece, and in such challenging times, it was refreshing to see the art’s championing hope.
The set, which remains static, perfectly depicts a tired, old fashioned and uncared for study. It is quintessentially ‘professor-ish’. Bookshelves crammed with notable authors and poets, and act as a perfect ‘hidey hole’ for Frank’s stash of spirits, a small table laid out for students to complete work is set up stage left, with leather armchairs in which the great and the good can sit and discuss academia to stage right. The whole piece works wonderfully, and is used appropriately throughout by both. Whether directed or not, there was a clever use of the two areas; Rita spent a lot of her time hovering around the students area in the beginning of the play, but as she becomes more well read, and more attune to literature, we see her become more at ease reclining in the armchairs, and holding her own amongst the great poets and authors of yore. Two floor-to-ceiling windows are used to cleverly depict night and day and the changing of the seasons, as we follow Rita’s education, throughout the course of a year.
After a number of bows Tompkinson and Johnson stayed on stage to say a few words as to why they had decided to go ahead with the production, even in the light of the Government announcement regarding the current Covid 19 crisis. It was a short earnest speech that made the evening all the more memorable for everyone who was there. When this production is available again to watch, go see it, it will be well worth the wait.
Reviewer - Jen O'Beirne
on - 15/3/20
No comments:
Post a Comment