Educating Rita

I was delighted to attend this performance along with the Noda National President, Christine Hunter Hughes and a warm welcome was extended to us both from the director of this play, Sara Bissett.

Inside the programme, the play is described accurately as a poignant journey of discovery, freedom and change for both characters, Rita and Frank. It is also about self-development and personal relationships. With a two-character play, such roles are demanding with lengthy narratives, but Carl Horton and Helen Freebury, who played Dr Frank Bryant and Susan ‘Rita’ White respectively, absolutely nailed the challenging task of carrying the entire two Act play. In the opening scene in Act 1, Rita’s arrival on stage was a whirlwind of energy  and the audience was soon captivated by her infectious spirit as she sashayed into Frank’s office, wearing her leopard patterned coat and staggering around in silver stiletto shoes. University professor, Dr Frank Bryant (a failed poet) was tasked with the seemingly uphill battle of transforming uneducated Liverpudlian hairdresser Rita into an academic, the focus being critical, and interpretation of literacy works.

Set designers, Sara and Rod Bissett created an impressive, spacious office for staging this play, lined with bookshelves, overflowing with books which also hid bottles of alcohol. Attention to detail was noted here with specific book titles stored, relevant to the play. The study also included a fireplace and a sash window, which overlooked a university building and a lawn. Beneath the window was a window seat, which was used to good effect during some scenes. There was one door for all exits and entrances. This was a grand setting constructed by an experienced team and complimented with considered items of furniture and authentic props. The remarkable set, however, did not limit use of space for interactions between the characters. Lighting (Stan Vigurs), and sound arrangements by Sam Evans, provided cues to signify lapses in time and most scenes (and there were 14 in total) slid into the next through music. Unchanging cast and scenery didn’t get tedious at all; there were no interruptions, unfaltering continuity in all aspects.

The play focusses on Liverpudlian, Rita, a ladies’ hairdresser, who has become deeply dissatisfied and seeks a better life for herself. She wants to write exams she says and, as she tells Frank, ‘Learn everything.’ She has signed up for an Open University Course which allows one to one tuition by a professor. Rita has been paired up with Frank, an alcoholic, who is also a disillusioned English Literature Professor, who has lost his passion for teaching. Frank uses alcohol to cope with his divorce and personal problems. Over a period, we learn in the play that Rita’s chauvinistic husband discovers Rita has been secretly taking birth control pills, so he burns her books and gives her an ultimatum. She courageously leaves him, to focus on her studies. Frank, overtime, helps Rita realise her academic potential. In turn, her passion for learning revitalises his love of teaching. Frank comes to appreciate her unique mind, and as he watches his student grow with confidence and independence with ability to debate literacy with other students, his pride emerges but also, some bouts of jealousy. Rita educated Frank and showed Frank what it meant to just appreciate literature. As his friendship with Rita flourished, and there are scenes rippled with humour and reflection, they exchange presents. Unfortunately, Frank also struggles with the dark side of his character, his drinking habits, and when he falls off a rostrum, drunk during a lecture, the university tells him his behaviour won’t be tolerated any longer. In the final scene he tells Rita he is leaving for Australia. The once nonjudgemental Rita, who sought Frank’s wisdom, now offers him guidance.

Carl Horton brought a real pathos to the role of Frank. He was perfectly cast as the languid, alcoholic lecturer. He was casual in his stance and softly spoken. He could be empathetic and kind; knowledgeable yet cynical and disenchanted; exasperated yet calm and patient; critical and honest yet supportive. Carl was able to portray these characteristics so well and with outstanding ease and confidence. His lines all delivered without a flicker of hesitation. In the final scenes when Frank appeared drunk, on-stage Carl appeared visibly disorientated, his drunken stupor and stumbling bodily movement so well choreographed. Carl’s overall performance as Dr Frank Bryant was magnificent.

Helen Freebury brought Rita to life in a way that was entirely her own. Her portrayal of the outspoken hairdresser bursting with enthusiasm and determination during her first meeting with Frank was brilliant in its exhaustive energy.  She was incessantly chatty, quizzical, honest and endearing. Helen captured her character’s ambition and sharpness of mind so well and as the audience absorbed the change, we were all able to witness in Rita, she held our attention and won our affection. Helen was word perfect and sustained her Liverpudlian accent. Both Carl and Helen gave us warm yet vulnerable characters whose relationship seemed natural and believable.

Congratulations to the director, Sara Bissett, for this was a play that was impressive in every respect, the ideal cast, direction and setting. This was reflected in the well-deserved applause from the audience in recognition of a drama done exceptionally well.

Thank you for inviting me.

 

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