Educating Rita Essay Example

be treated as such, expressing her frustration by stating, "I won't be called a baggage when I've offered to pay like any lady."

However, despite their similarities, Rita demonstrates a more assertive attitude and does not pity herself. She stands up to Frank. On the contrary, Eliza feels sorry for herself and displays pathetic behavior but fails to stand up to Higgins, instead expressing her distress through the exclamation, "Ah-ah-ah-ow-ow-ow-oo!"

Similarly, Professor Higgins is comparable to Frank from 1914. They are both educators who have a great love for the English language. Higgins even regards it as "the language of Shakespeare, Milton, and The Bible."

They are also the ones with a strange, dry sense of humour:

Mrs Pearce: "But I've no place to put her."

Higgins: "Put her in the dustbin."

However, where Frank learns from Rita in 'Educating Rita', Higgins is portrayed as perfect in every way, although by the end of Pygmalion he does need Eliza.

During the time that Willy Russell wrote Educating Rita, his ideas were considered shocking. In the 1980s, schools implemented a system known as 'streams' to categorize students. Those in the A stream were considered intelligent and had the potential for good jobs, while those in the D stream were not as clever and often ended up with less desirable jobs. The D stream students were commonly regarded as being destined for factory work and ultimately becoming part of the working class. Despite this societal expectation, Rita chose to become a hairdresser, defying the norm.

The prospect of a working class individual achieving middle class status, either through wealth or education, was uncommon. The middle class held a condescending attitude towards the working class, regarding

them as inferior. In 'Educating Rita', Frank, a member of the middle class, forms a deep platonic bond with Rita, who comes from a working class background, much like Higgins does with Eliza, the flower girl, in Pygmalion.

This theory was astounding on its own, but then we witness Rita actually accomplishing her dream and moving up into the middle class. This was a rare occurrence in the '80s, although it did happen to Eliza and Russell themselves, just like it did with Higgins and Eliza at the end of Pygmalion. Higgins actually proposes to Eliza, similar to how Frank asks Rita to accompany him to Australia. However, both women reject the men because they are content in their new lives. They no longer depend on the men, but rather the men depend on them.

In the 1980s, The Open University faced controversy as people doubted its success and some opposed it. The reason was that they believed if factory workers became middle class, there would be a shortage of labor for the factories.

To bridge the gap between the middle and working classes, Russell introduces characters representing each class in his play. His goal is to demonstrate that people from different social classes can be friends and gain knowledge from one another. He aims to break down the prevailing barrier separating these two groups.

He also writes it very much for himself as someone who has risen from a working-class status to become part of the middle-class group. Much of the play is based on Russell's own experiences, and his creation of Rita is not that far from himself. Rita, a hairdresser, is unsatisfied with her

life, just as Russell was:

"It dawned on me that if ever I was to become a writer I had first to get myself into the sort of world which allowed for, possibly even encouraged such aspiration."

The reason they initially did not do well in school was because being different was met with teasing and bullying, as Rita explains:

"See, if I'd started taking school seriously I'd have had to become different from my mates, and that's not allowed."

Both Rita and her creator knew they wanted to be different, but it was only when they grew older that they were willing to take action. Yet, they both possessed enough determination to succeed in their mission. They both became middle class and obtained one qualification in English Literature. In Pygmalion, Eliza also shared Rita and Russell's determination to obtain an education – she recognized a good opportunity and held onto the dream.

Willy Russell draws on his experiences as a teacher to create the characters of Frank and Rita. While he identifies more closely with Rita, as both were working class, he also shares a love for writing with Frank. Thus, we can see that Rita represents Willy Russell in his earlier working-class days, while Frank represents the educated version of himself.

If I were producing 'Educating Rita', I would cast Jennifer Saunders as Rita. Her ability to abruptly change subjects in conversation, similar to Rita, makes her interesting. Additionally, she would excel in portraying the journey of an uneducated person progressing towards becoming an educated middle-class woman. Jennifer has a highly expressive face, effortlessly conveying different emotions, which is beneficial given the numerous phases Rita goes through.

In our

first encounter with Rita, she should appear lively and bewildering, swiftly switching conversation topics. Her words should be cut off, speaking rapidly to convey her high-strung nature: "Well that's no good always meanin' to, is it? Y'should get on with it; one of these days you'll be shoutin' 'Come in' an' it'll go on forever because the poor sod on the other side won't be able to get in. An' you won't be able to get out." (Pg2, Act 1 Scene 1) Jennifer should deliver this monologue quickly and breathlessly, deliberately truncating her words. It should feel like a torrent of speech, amplifying the shock and uniqueness of Rita's character.

Towards the conclusion, Jennifer should slow down her speech, avoiding abrupt cutoffs. For instance, when delivering the significant line: "Yeh. An' it might be worthless in the end. But I had a choice. I chose, me. Because of what you'd given me I had a choice. I wanted to come back an' tell y' that. That y' a good teacher." (Act 2 Scene 7), she should articulate it slowly and clearly.< p > While she continues to abbreviate her speech, it is not as apparent. This displays her growth as an individual and indicates a significant decrease in her abruptness.

The initial portrayal of Rita involves constant movement and refusal to sit, highlighting her uptightness and showcasing her hyperactive and bubbly personality. Towards the play's conclusion, she begins to exhibit a slower pace of walking and occasional sitting, indicating her relaxed state and trust in Frank. In Act 1, Scene 1, there are stage directions for Rita to wander around and get up while Frank remains

seated. In Act 2, Scene 7, stage directions show Rita perching on a small table and sitting on a tea chest. These actions reflect her increased relaxation, which the actress must effectively convey throughout the play.

I believe that Ricky Tomlinson would be the perfect choice for the role of Frank. He possesses the same dry sense of humor as Frank and would excel at portraying a scruffy and intoxicated character. In the opening scenes of the play, it is crucial for Frank to come across as superior and middle class, someone that Rita can look up to and be inspired by. This allows the audience to understand Frank's significance in Rita's life and see things from her perspective. Additionally, Frank should demonstrate a higher level of literacy compared to Rita, speaking fluently without cutting off or elongating his words.

Frank's character remains relatively constant throughout the play, while it is our feelings towards him that evolve. The actor must manipulate this emotional response to ensure an optimal viewing experience. Initially, we witness Frank drinking before engaging in a phone conversation with his wife:

"(S.D) He takes a quick swig of whisky before answering the phone. Although his speech is not slurred, we should recognize this as the voice of someone who consumes a considerable amount of alcohol."

This scene portrays Frank as a heavy drinker who relies on alcohol to handle his problems. It also reveals his lack of professionalism as a tutor by drinking in his office. The viewers will also perceive this, so the actor should emphasize this further through facial expressions associated with excessive drinking such as taking large sips directly from the bottle and

wincing as he drinks. The actor must effectively generate a sense of disapproval towards Frank as soon as he enters the stage. In contrast, Higgins is depicted as flawless.

In the middle of the play, however, Frank becomes more pitiable to us. We sympathize with him because he unintentionally changed Rita, which he didn't desire and is now suffering from it. Therefore, in these parts, the actor portraying Frank must strive to evoke sympathy. An instance of this is when Rita says to Frank:

"Rita? No one refers to me as Rita except for you. I discarded that affected nonsense as soon as I realized its true nature. You foolish...No one calls me Rita." (Act 2, Scene 5)

During scenes like this, he should make extensive gestures of helplessness with his arms, and his facial expression must convey a sense of misery while also revealing his attempts to conceal it beneath his anger.

Throughout the play, Frank's frequent sitting down portrays him as a rational and calm individual. This contrastingly highlights Rita's constant movement around the stage, which becomes even more noticeable to the audience. Moreover, Frank's seated position indicates his readiness to work, as he is often shown waiting for Rita to join him. On the other hand, Rita is initially less inclined to sit down and engage in the work. In Act 1 Scene 2, a stage direction emphasizes Rita's preparedness by showing her taking out various study materials and methodically placing them on the desk. Despite this display of readiness, Frank ignores her and expects her to simply engage in conversation, thus underestimating the significant changes occurring within Rita.

When Frank is intoxicated, as seen in Act

2, Scene 3, he must visibly and explicitly exhibit his unprofessional behavior to the audience, eliciting both disgust and sorrow. This is because we understand that he only turns to alcohol when faced with a problem, demonstrating the impact Rita has on him. This, I believe, is the desired effect that Willy Russell aims to achieve in this particular scene. To illustrate, the stage direction "(lying flat on the floor)" is reiterated multiple times throughout this scene, signifying Frank's level of intoxication and his abandonment of reason as he confides in Rita about the students. Although he expects Rita to support him, she instead responds, "Maybe they did it for your own good." This evokes sympathy for Frank while simultaneously fueling our disgust towards his drunken state. Consequently, the actor portraying Frank must convincingly embody both inebriation and distress during scenes like this, which proves challenging because intoxication typically entails a carefree demeanor - the reason people drink. One suggestion would be for the actor to maintain a constant state of drunkenness, but when Rita delivers lines such as the one mentioned above, he could slightly raise his head or emit a grunt to remind us of his presence and invoke feelings of pity.

The actors in 'Educating Rita' effectively portray the transformation of Rita and Frank, as well as Frank's underlying sadness at her desire for change. This depiction accurately depicts the challenges they face and adds depth to the ambiguous ending, making it more satisfying for the audience.

Rita's transformation in the play is reflected in her changing clothing style. Initially, I would dress her in eccentric and unconventional outfits that showcase her lack of

fashion sense. This aligns with her innocent and unfamiliar nature, as she is unaware of societal expectations for dressing. She exudes a carefree attitude, as she does not concern herself with others' opinions or judgments about her style. Her personality shines through in her outrageous, wacky, and fun apparel. To emphasize Rita's working-class background, her clothes should not appear expensive.

As the play progresses, we witness a transformation in Rita, reflected by her changing attire. Initially, she adorns extravagant and inexpensive clothing. This intention becomes evident in Act 2, Scene 1, where a stage direction states, "(Rita bursts through the door. She is dressed in new, second hand clothes)." However, towards the end of the play, I envision Rita wearing more sophisticated and costly garments, such as suits. This shift symbolizes her personal growth from a genuine and uninhibited yet uneducated individual to a middle-class, intelligent woman who is conscious of fashion trends and concerns herself with others' opinions.

On the other hand, there should be a contrasting development for Frank. Initially, I envision him dressed as a middle-class gentleman in suits and ties. However, as Rita's fashion sense improves, Frank's dressing should gradually deteriorate. By the end, Rita should be dressing better than him. This demonstrates to the audience that Frank is stuck in the past and longs for the old Rita, while also showcasing Rita's increased intelligence compared to Frank.

The play is set in a university office and maintains the same props throughout. These include a desk, chairs, a window, a squeaky door, and a bookcase. The significance of these props may vary in different scenes. In Act 1, Scene 2, for example, the window

becomes a focal point as Frank and Rita gaze through it at an unseen scene. To highlight this, I would position the window towards the rear of the stage while displacing other items slightly further back.

The window scene serves as a crucial moment in the narrative as it presents us with a glimpse of the life Rita yearns for. Rita desires freedom and opportunities, and she perceives the students idling outside the window as superior to herself, leading an idealistic existence. While this perspective may not align with reality and practicality, it embodies Rita's aspirations and feelings of missing out. Essentially, the window acts as a portal to Rita's dreams, offering her a view into the life she craves.

I would position Frank and Rita by the window during their performance to direct our attention towards it. However, the actors must ensure they don't fully turn their backs to the audience; instead, they can glance out of the window at an angle that allows the audience to see their faces. This is important as it enables us to observe their crucial facial expressions and hints in their speech.

Throughout the play, there is a change in the layout of the room. When Frank is working, the room is tidy and organized. However, when he is relaxing, as seen in Act 2 Scene 5 and Act 1 Scene 6, the room becomes less orderly and more natural. For instance, the window may be open, papers may be scattered on the desk, and there might be a coffee cup on a table. These details allow us to see Frank as a regular person when he is not working.

When there

is trouble or an impending argument, the room becomes slightly more messy, serving as a warning sign of impending change and turmoil. The disorder also serves as a symbol of chaos and confusion, which is often a consequence of arguments. In scenes such as Act 2 Scene 5, where they engage in a heated debate about Frank's poetry and release their pent-up anger upon each other, I would envision the room appearing like this.

To depict the changing of seasons, the stage lighting would vary. During summer, the stage would be brightly illuminated to create the image of sunlight streaming through a window. In autumn, the lighting would be softer, resembling twilight. Additionally, the characters' clothing would serve to indicate the season. To convey the passing of time, I would follow Willy Russell's suggestion in the stage directions and momentarily darken the stage. This would occur in Act 2, Scene 6, as shown in the passage:

"Yes...I believe she works there...Rita White...No, no. I apologize...Um. What was it?... Susan White? No?...Thank you...Thanks...

(The lights fade to blackout to signify the passage of time...)

I believe that Act 1 Scene 1 plays a vital role in the play as it introduces the two characters and establishes the setting for us. It provides us with an opportunity to become acquainted with the characters and learn about their backgrounds. When the curtains rise, it is important that we immediately view Frank with admiration and curiosity, engaging with the story from the very beginning. We witness him rummaging through a bookcase, instantly capturing our interest.

When he utters his first words, they should be sufficiently loud for us to hear, yet also muttered as

if to himself. His expression must convey confusion and bewilderment, but also a sense of triumph when he eventually remembers and finds what he is looking for. As he utters the word "Dickens," his facial expression should mirror his realization. During this section, it is important that he does not face the bookcase so that we can observe and interpret his facial expressions. To achieve this, I propose positioning the bookcase at a 90-degree angle to the stage. When the telephone rings, he should momentarily startle and display a guilty and wary expression, as if aware that he has done something wrong. However, as he realizes it is his partner on the phone, his expression should shift to one of irritation, relief, and impatience. He should speak the following words: "Of course I'm still here... Because I've got this Open University woman coming, haven't I?... Tch..." Subsequently, he should adopt a resigned demeanor, as if tolerating a fussy wife, appearing tired and unable to contribute to the conversation. The knock on the door should serve as a welcome distraction and an excuse for him to end the call. Therefore, when Rita knocks, he should display a look of relief and eagerness to hang up the phone, yet also indicate his inability to do so. His initial reaction upon seeing Rita should convey great surprise, given her unconventional and striking appearance.During the exchange on page 3, Frank should portray confusion to the audience. He should appear bewildered and physically demonstrate this by scratching his head. The audience should easily perceive his confusion through this exaggerated gesture. When Rita brings up the erotic painting, Frank should try

to avoid the subject and display embarrassment. It should be evident that not many people discuss the painting so openly. While this part of the conversation occurs, it would be effective for Frank to place his hand on his forehead, conveying a sense of hopelessness, and run his hand over his mouth in a downward motion. This will indicate his reluctance to discuss the painting. The following lines are an example of how this conversation should be delivered:

Rita: "Y'don't paint pictures just so that people can admire the brush strokes do y'?"
Frank (with a short laugh): "No-no-you're probably right."

At this point in the play, Rita should exude confidence and fearlessness, while Frank is still recovering from surprise and shock. To effectively portray Rita as confident and enthusiastic, she should move around a lot and speak rapidly with enthusiasm in her voice. She must smoothly transition to another topic, and Frank should allow her to do so, highlighting his continued surprise.

When discussing more intellectual topics, such as 'Howard's End' on page 5, Frank takes on a greater level of responsibility and appears more confident. As the audience, we can observe this through his calming demeanor and increased happiness. The stage direction of him getting up and pouring drinks further indicates his sense of control and teacher-like authority.

Upon further observation, the differences between Frank and Rita become more apparent. Currently, we do not see any similarities between the two characters, so the actors must exert great effort to present them as distinct individuals. For instance, while Rita is more observant and talkative, Frank should adopt a posture of sitting and listening more. The intellectual disparities should

also be highlighted through their manner of speech.

Rita: "Y'know, someone who objected to swearin'."

Frank: "How did you know I wouldn't object?"

Through the way Rita cuts off her words in contrast to Frank's lengthier speech, we can initially perceive Frank's cleverness. Additionally, Rita should exhibit a sense of innocence; for example, when they discuss assonance on page 8, lines 7-22, Rita should genuinely display her lack of knowledge but remain highly interested. By nodding her head while Frank explains and ceasing her constant movement, it will be evident that she is engaged. It would also be helpful if she maintains eye contact with Frank as she enters since this signifies her reluctance to challenge him and her respect for his intelligence. However, this changes now as she actually starts acknowledging him.

During the discussion about Rita's name, Rita should maintain the appearance that she understands everything and finds it amusing by shrugging her shoulders and casually saying her name when asked, without providing any additional explanation. When Frank mentions, "Rita. Mmm. It says here Mrs S. White," he should display signs of insecurity again, with a slight decrease in confidence in his voice since they are no longer talking about education. He may scratch his chin or head to indicate his discomfort in mentioning the topic mentioned above.

During the joke about Frank and Elliot Ness on page 9, lines 18-26, there should be a noticeable pause between Frank saying "Ah." and Rita responding, "You've still not got it have y'?...". This pause highlights the differences between them, with Frank being more accustomed to the company of intelligent individuals and Rita's innocence when it comes to social

matters. It also showcases how Frank learns from Rita. While the joke is being told, Rita should appear expectant, awaiting laughter, while Frank looks confused and puzzled. A similar situation occurs on page 11 when Rita discusses Flora margarine, and Frank mistakenly thinks she is referring to flowers:

R:"...'Y' can tell he's a Flora man.'."

F:"A what?"

R:"A Flora man."

F:"Flora? Flowers?"

In fact, Frank must display complete innocence and lack of knowledge regarding any topics that are familiar to Rita as a working-class person, just as Rita is ignorant about education. For instance, on page 11, line 1, their conversation revolves around Farrah Fawcett Majors and ITV, and Frank should be highly interested and appear new to these subjects. His mouth should slightly drop, while he focuses more on Rita and demonstrates that he is concentrating.

On page 12, Rita must initially listen while Frank talks about making a bargain, saying, "Listen, I'll make a bargain with you..." As she begins to understand his intentions, her mouth must drop and she should appear surprised and skeptical, but remain quiet. However, when he says, "I'm sorry-there are other tutors-I'll arrange it for you," she must open her mouth indignantly. She then consciously stops herself and closes her mouth.

During this conversation, Frank must have his back to Rita, but facing the audience. He should maintain a composed demeanor, perhaps with his eyes closed as if he has rehearsed these words and has been meaning to say them for some time. However, he should also display a subtle hint of guilt and regret that he will not have her as his student. When he says, "I'm actually an appalling teacher," there should

be a pause to indicate that he is admitting it and waiting for Rita's response. In the absence of a response, he should briefly look around before turning back to face the audience.

Once Rita exits, the man must start packing up, reaching for his briefcase and organizing the papers within it. He should be very surprised when Rita abruptly reenters and her words cut off his own. While Rita asserts her desire for him, she should maintain a firm and determined expression, disregarding Frank's remarks and objections by physically turning away to signal her lack of acknowledgement. Frank should appear pleading initially, but eventually accept defeat when he asks:

"Do you think I could have a cigarette?"

By presenting the play in this manner, I am capturing Russell's intentions. Russell aims for the play to resonate with both middle and working class audiences, demonstrating that one can transcend their social status, as he himself did. He believes that individuals should strive to accomplish their dreams regardless of their position in society. To align with this perspective, I have ensured that the audience consistently supports Rita throughout her journey. By portraying moments of depression and near failure for Rita, we witness how strongly the audience roots for her success.

The text presents the intention of the writer, Russell, to depict the concept of individuality and challenge social barriers between different social classes. This goal is achieved through the portrayal of Rita and Frank's relationship, which is depicted as intimate and close despite not being romantic. By highlighting their mutual understanding and love for each other, I effectively fulfill Russell's intention.

Furthermore, the director wants to depict the life of working

class individuals, which is a crucial goal for him as he himself experienced this lifestyle during his childhood and understands its realities. The actress playing Rita must effectively portray this life to the middle class audience, highlighting its challenging nature and discouraging any desire to live it, while also connecting with the working class in the audience by seeking their agreement and avoiding excessive criticism of their way of life. The director aims to foster compassion and understanding towards the working class among the audience. This staging approach in 'Educating Rita' reflects the director's efforts to faithfully follow the script and bring the play to life. Through the use of scenery, stage layout, costume, and lighting, the director successfully immerses the audience in the play and enables them to grasp Russell's intentions. Russell aimed for a comical production that would resonate with both middle class and working class individuals, incorporating ample jokes and precise timing. By employing these elements, the director believes he is effectively capturing Russell's vision for his play.