How often is one beset by a niggling, persistent yearning to have something more in one's life? Something that will make our life more evolved. Where does this quest start and where does it end? Will this search alienate our friends, our partner, and other relationships that have been part of our lives? And yet, is there any certainty about absolute contentment?
Written by Willy Russell, the play EDUCATING RITA attempts to answer these questions from the point of view of a twenty-six year old hairdresser, who has a thirst for 'culture'.
The hankering for 'inner growth' has made 'Rita' rechristen herself and enrol for an open-university course. Ostensibly, this change in name (from Susan-her real name) is inspired by a little-known writer, whose work she likes.
Professor Frank, who teaches a course in Comparative Literature, is assigned this intrepid, lively, disarmingly frank woman. Initially he attempts to shun her. Frank is battling his own demons. A mediocre poet who no longer composes, a teacher of modest talent who teaches when the mood hits him and a borderline alcoholic committed to steady tippling, Frank accedes only at Rita's insistence.
Amidst their fondness for swear-words, love for candour and the occasional shared drink, the disillusioned academician and his questioning pupil soon find a comfort level. Rita begins to enjoy Shakespeare and recites him with passion. She learns to enjoy the nuances of Chekov and dissects the different works of D.H. Lawrence. Inevitably, as her emotional, intellectual and cultural quotients change, so do her priorities. This alienates her from her husband and her life before Professor Frank, compelling her to move out of her marital home, change her job and make new friends. She becomes confident, outgoing, bohemian in her choices and cosmopolitan in her outlook.
But the Professor declines further into drinking and teaches less. However, his astute teacher's eye notices that Rita's spiral towards 'improvement' is creating a sense of smugness. She is merely aping those she admires and has lost the hunger for learning that had fuelled her change, as she feels that her present knowledge is the end point of her improvement.
So the Professor sets her a last task, that of a critical analysis of his own poetry, written many years ago, when he was still able to write. He hopes to jolt Rita out of her complacence, so that she can continue to question what she experiences. How does Rita react to her teacher's creation? How does she fare at the test that she has to write at the end of the course? Does the friendship between the Professor and Rita withstand this final test? The audience eventually finds out.
Although Pygmalion-ish in its approach, the subject of Willy Russell's play is cleverly peppered with humour and is as relevant now as it was over thirty years ago, when it was written. Pratima Kulkarni's direction is certainly good but it is jarring to note the stark contrast between Rita's and the Professor's accents. The performances however are capable enough to overlook this problem that many an Indian English play in performance has to deal with.
The dialogue delivery, body language and expressions of Ajit Kelkar as Professor Frank are delightful to watch. Pradnya Shastri as Rita is also good. Her metamorphosis from the slightly coarse talking hairdresser to the knowledgeable, garrulous bistro- worker is convincing. This is helped by the rapid change in costumes. From the initial plebeian jeans, sneakers and tees to the tasteful blouses, skirts, dresses, sweaters and beret, the change in dress helps to mark the passage of time determined by Rita's transformation. With such attention to detail, one wonders why the hand bag from her hairdresser days does not change to a more 'hip' one later. The background music was a little too loud initially and drowned out the dialogue. Later, however, it was toned down and complimented the mood of the play.
The film release of the play in 1983, starring Michael Caine and Julie Walters, is said to have inspired many wives and women to walk away from unsatisfactory relationships. While this Indian production may not do that, it might help both sexes question their lives and strive for 'inner growth'.
*Ujwala Karmakar is an Anaesthesiologist by profession. She likes to watch plays, read, and listen to music among other things. Ujwala has also been writing on women's issues, parenting, travel, etc.
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