Getting a real 'education' in great theatre at Segal? Priceless!

Educating Rita The hilarious and clever comedy by award-winning playwright Willy Russell ('Shirley Valentine'). Directed by Marcia Kash. With: Carley Street and *Ric Reid. Costume and set design by John C. Dinning. Light design by Spike Lyne. Photo credit: Randy Cole. This play is truly an education for all as we are witnessing a virtually flawless and throughly entertaining and totally enjoyable production. *Ric Reid is away due to a health matter so Ian Deakin is currently replacing him.

Bryna Wasserman, Artistic and Executive Director of the Segal Centre promises: “The special chemistry and briskly-paced comedic repartee between these two extraordinary actors will have you smiling all through the play.” She isn't talking out of her hat here either...not sure she wears actually hats; Though I'm sure that she wears many in order to maintain the high levels of theatre productions promised to the loyal Segal audiences who have become accustomed to 'first class' theatre.

The play is about Frank Bryant, a failed writer (poet) and disillusioned literature professor who views his students as appallingly, boring, and lacking in originality. The cynical middle-age curmudgeon academic would rather spend time drinking scotch than teaching. And it is about Rita, who is a brash, twenty-six year old hairdresser from Liverpool who is determined to get an education and shed her working-class image. Her real name is Susan, but wanting to appear more sophisticated she refers to herself as Rita after feminist writer Rita Mae Brown. Rita thinks Brown is a brilliant writer but Frank has never heard of her. Frank grudgingly accepts to tutor this uneducated and feisty Liverpudlian, but in time her passion for learning intrigues and enchants him.

The performances of both Carley Street (Rita/Susan) and Ric Reid (Frank Bryant) are impeccable. Their chemistry on stage is vibrant and very much alive and completely entertaining. Rita's journey is delivered with pristine clarity bringing the audience along to each of her tutorials. Frank's frustration with life and eventual cathartic experience is pure and heart felt. The set and costume design by thirty year veteran John C. Dinning is amazing, it is so detailed and well conceived to suit every nuance of the play. Lighting by Spike Lyne is equally well designed to suit the mood and set.

The classic Pygmalion story is as winsome and fresh as it ever was in this new slightly updated revised version of this 80's modern classic. Director Marcia Kash is in very familiar territory with the character Rita. In a veritable 'circle of life' scenario, She was the first actress to play the role in Canada and subsequently reprised it four times. "Rita's a women with 'guts' with determination and with an innate curiosity about the world...she wants more out of life and she's willing to risk everything to get it." Rita maintains though her journey in the play that all she really wants is to have a choice. Under Kash's direction the production is like seeing the play again the first time. The play is still very relevant today, and this production is very fresh, creative, with energy anew.

The play is partially autobiographical; British playwright actually Willy Russell grew up in a working class family in Liverpool and became a hairdresser. Eventually he returned to college and started writing drama, which opened up a world of new possibilities and brought him international success. He connects easily with his female characters offering them some very insightful dialogue that isn't condescending always remaining believable and retaining the truthfulness in their lives.

One note that I'd be remiss for not mentioning however; When selecting your seats, choose center or audience stage right sections for a more enjoyable and a better sight line of the stage and of the performances. Seated to far to the left of the stage, I felt at times somewhat disconnected to Rita, missing out on some of her vibrant expressions and delivery. This is mostly due to staging, blocking her too far downstage and or facing all too often up stage and to stage left leaving only her back and rear angled profile.

Playing at Segal Center for the Arts daily except Fridays now until December 13th. GO C IT.