As we read on, Frank’s humour and sharp cynicism becomes apparent and gradually begins to shape our view of his character. On the telephone call to his partner, his sophisticated vocabulary, and quick, witty humour becomes prominent and the reader conjures up personal opinions and images of Frank.
Rita’s entrance into Frank’s office directly highlights the contrast between the two characters. Her language is particularly telling, she uses a vast amount of colloquialisms, and the social differences between her and Frank are instantly apparent. Her slightly overwhelming and bubbly character immediately upstages Franks balance and composure, and as a result, Rita’s lack of intimidation takes hold of the conversation, and the first role reversal of a student-teacher relationship occurs.
The first scene is extremely effective in establishing Rita’s indisputable genuineness and refreshing realness. From the moment she enters and launches into conversation with the slightly astounded Frank, her ‘say what you mean’ policy is prominent. This is clearly demonstrated in her views on literature, and the painting hung in Frank’s office. She, without hesitation begins to express her views on the painting, using blunt language e.g. “look at those tits”, and does not hide behind any false pretences of looking at it in a pretentious, ‘educated’ manner. Gradually, as the interaction between Rita and Frank progresses, Frank begins to adapt to seeing things the way Rita sees them and vice versa. ‘Aren’t you supposed to be interviewin’ me?’ This is a key theme, which is successfully introduced the whole way through the first scene, and then continues throughout the duration of the play. They are both able to learn from each other, Rita about education and literature, and Frank, about life.
Rita’s intelligence, passion for life and learning is another key character trait demonstrated to us in the first scene. Although she does not realise it, she is bright, perceptive and astute, with a zest for life, at the beginning of a steep learning curve. In direct contradiction, Frank is lost, adrift his own inadequacies, and bathing in his own cynicism. He is old, tired and defeated, crushed by life. However, both are especially insecure about their own self worth, Rita, about her intelligence, and Frank, jaded and tired of his mundane routine.
Throughout the scene, the writing is very effective in creating a relationship between Frank and Rita, which extends beyond a student-teacher relationship. They drink together, smoke together, and know intimate details of each other’s past and present. Rita ‘invades’ Frank’s usually clandestine personal life, and in doing so, gradually begins to open him up.
The scene also proposes an essential discussion topic. Frank has lost any value of education, his extensive learning has made him cynical and dissatisfied. However, Rita longs to gain the knowledge and education of Frank, but would that create a cynical and dissatisfied Rita? Would an education mean the loss of her unadulterated pragmatism? This leads us on to the question; is an academic education really as valuable as a PhD in life?
To conclude, I felt that the opening scene of Educating Rita was extremely effective in introducing the characters of Rita and Frank to the audience. Willy Russel used a combination of techniques including role-reversal, and humour to give us and introduction to these key characters. The extensive insight gained in this first scene, will help the reader tremendously, in understanding further events in the play, and the relationship that develops.
