Willy Russell’s Educating Rita may have debuted in 1980, but its questions about ambition, class and the freedom to decide what kind of life you want still feel remarkably relevant.
Directed by Cara Nolan, this two-hander follows Rita (Alexandra Mardell), a hairdresser who enrols on an Open University English Literature course determined to broaden her horizons and, in her own words, learn “everything”. She bounds into tutor Frank’s (Dominic Mafham) office full of colour, questions and infectious enthusiasm, a whirlwind against his dishevelled, world-weary demeanour.
The contrast between the pair is immediately charming, and Mardell and Mafham work exceptionally well together. There is a real rhythm to their exchanges, keeping the pace moving through what could easily become a rather static or dull production in the wrong hands. Mardell makes Rita both charming and admirable, capturing her determination without losing her warmth, while Mafham’s cranky, alcohol-fuelled Frank gradually grows on you as Rita’s affection for him does.
Michael Taylor’s set adds another layer to Rita’s journey. A collection of mismatched furniture creates Frank’s cosy but chaotic study, surrounded by a concrete-looking frame with no walls to contain it. It feels like a visual representation of the boxes Rita is trying to escape. The irony, of course, is that in escaping one box, Rita risks squeezing herself into another.
As Rita becomes increasingly immersed in literature, the production makes her transformation visible. Her bold colours and exuberant appearance gradually give way to more subdued clothing and restrained hair styling. The woman who initially wants to escape the mindless routine of work, pub and club begins learning the rules of another world: how to speak, how to dress, what wine to drink, what constitutes being cultured. Education may be expanding her worldview, but it is also giving her a new set of expectations to navigate.
That makes Rita’s determination all the more admirable. She is surrounded by people who, in different ways, would prefer her to stay where she is. Her husband resents the time she spends on the course, while Frank becomes increasingly uncomfortable as Rita’s intellectual world expands beyond what he can offer her. It doesn’t feel like a coincidence that it’s the men in Rita’s life who attempt to place limits on her ambition. Not everyone has Rita’s conviction to simply ignore those voices.
The satisfaction of seeing Rita find her own way is somewhat diminished by where the story ultimately leaves her. After rooting for Rita for two hours, seeing her return to Frank apologetically gives him too much credit for the woman she has become. Frank’s inability to acknowledge his own role in trying to keep her where she was feels equally frustrating. There is something striking in the idea that a man can be proud to have helped a woman grow, right up until she outgrows him.
Educating Rita is an engaging and thought-provoking production, brought to life by two excellent performances. More than 45 years after its debut, its central questions about who gets to determine the limits of your life remain compelling, particularly when the person you have to move beyond is someone who believes they are helping you.
Educating Rita is at The Curve until 17th October 2026. Find out more here: https://www.curveonline.co.uk/whats-on/shows/educating-rita/
★★★★
