Willie Russell’s two-hander about a Liverpudlian housewife trying to better herself through an Open University literature course was hailed in 1980 as a Pygmalion for modern times. What is both remarkable, and slightly depressing, about the piece is that it still seems relevant in 2012.
Rita (Claire Sweeny) arrives in jaded, alcoholic Frank’s Ivory tower of a university study with the force of a marauding Viking, hungry to pillage knowledge. When he asks her what she wants to know she says ‘everything’. What unfolds over a series of short episodes is a fascinating discourse on the nature of education, freedom, intelligence and, ultimately, love. It’s also very funny.
The demanding role of bitter, alcoholic, failed-poet Frank is undertaken by Matthew Kelly and his onstage persona is automatically sympathetic. Here that persona works slightly against the character early on, and I didn’t really believe he was ever going to refuse to teach this vivacious woman. He does rise to the challenge in the play’s later scenes, when his heartbreak at seeing his protégé achieve all she wanted at the expense of what made her special is palpable. He’s also one of the most convincing drunks I’ve seen on stage.
Sweeny is also automatically likeable on stage and, as Rita bravely battles against a potentially violent husband, apathetic work colleagues, and folk ‘down our way’ who ‘don’t get her’, we are willing her to keep going. The turning point in the play occurs when Rita is invited by Frank to a drinks evening that his girlfriend is giving for a few friends. Her account of her feelings on that evening, and a subsequent recounting of a night spent down the pub with her family when her mother weeps and wishes they could sing better songs, are examples of Russell’s extraordinary social conscience and writing style at the very best.
From this point, both actors go up a gear as the play hurtles towards its conclusion. What we are to make of that conclusion I’m not sure, as Russell leaves it open-ended as to where this remarkable relationship might go once the curtain falls. What comes ringing through, however, is his belief in the power of education to set people free. As single-set, two-character comedies go you’ll be hard pressed to find a more fascinating, multi-layered piece of dramatic writing anywhere.
