Educating Rita

Despite being nearly a half-century since its RSC debut the sharp dialogue, exploration of class and education is still relevant to audiences and the relationship between the two leads along with their often comedic friction makes for excellent entertainment.  Frank (Alistair Cheetham) and Rita (Lauren Grendon) should be applauded for the warmth, humour and depth of character that they brought to the roles.  The play focuses on personal growth, self-awareness and reflection of the impact that education can bring to individuals.  It requires a huge amount of dedication from the actors to maintain the intense two-hander format of this play and both players were amazing with the nearly two of hours of stage time and never appearing to lose the script.

Cheetham and Grendon had an almost instant chemistry which worked well as we share the changing dynamic of their relationship.  Grendon showed Rita as the bored and disillusioned working-class hairdresser who longs for change and seeks to achieve this through broadening her horizons with education in the form of an Open University course.  Through Grendon’s portrayal we witness Rita’s exuberance and desire to learn ‘everything’ as the play opens, whilst also experiencing her woes at being trapped in an unfulfilling relationship and career.  Grendon had just the right level of enthusiasm and trepidation at the start of the play and we see her develop and gain confidence as time moves on.   A fantastic performance from this actor.

Cheetham was highly believable as university tutor Frank who is a failed poet, alcoholic and at a loss in the academic world when he meets Rita and becomes almost enchanted with his new student.   Cheetham was line perfect and his performance throughout was nothing short of masterful.  He conveyed immense intellectual fatigue,  but also showed growing (if reluctant) affection for his new pupil.  Cheetham’s experience and composure as an actor ensured that Frank’s self-pitying descent into alcoholic despair was deeply moving rather than merely pathetic.

The single-set design was incredibly well portrayed using a black box stage with period furniture and stage dressing.  The Narnia Business Team had worked their magic to transport the players and audience to the 1980s office of a university lecturer in the north of England.  It provided an intimacy for the relationship to develop, but also a reflection of the character of Frank and spaces for him to hide his alcohol.  The changes were well managed by Cheetham who moved the time on with minimalistic adjustments to set whilst also swiftly changing cardigans and jackets in the blackouts between scenes.  When this was taking place Grendon was backstage changing Rita’s costumes to a perfectly styled 1980s hairdresser – wardrobe was fantastic – even Rita’s bags were of the period.

Sound and light were strong and hopefully the first night balance issues with the background noise of the university were resolved as the incessant chatter of students and noise from the corridors gave the play a sense of ‘place’.

The play explores timeless themes – it’s a study of human behaviour, class systems and emotions which all burst through the comedy of the interactions between the characters.  Grendon and Cheetham found the humour, they found meaning, they found disappointment at failure and they found barriers to success.  They also recognised the potential for hope, but more than anything they found Rita and Frank.

Congratulations to Steve Marsden (Director) and Sarah Liptrott (Production Assistant) and all the team at Huddersfield Thespians, but especially to the two players who captivated the audience.

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