Tag Archives: Danielle Flett

Educating Rita
reviewed in Hornchurch on 25 April

How do you react when you’re out of your comfort zone? Some become verbose. Others might take to drink. When we meet onstage the two characters of Willy Russell’s 1980s success Educating Rita (as with the rest of us) their lives are populated with a host of people who may be physically offstage but become just as real as Rita and her reluctant Open University tutor Frank.

Ros Philips’ production brings the action forward onto a thrust stage with the audience on three sides. I’m not sure that this makes it more immediate, even with Polly Sullivan’s suitably dishevelled set. Sally Ferguson’s lighting design is either deeply symbolic or somewhat perverse; I have a feeling that, on the opening night, it was the latter.

As Frank, Ruairi Conaghan manages to keep the uaidnece’s sympathy, no mean feat when what we are watching is a past poet now a reluctant academic (“those who can, do. Those who can’t, teach”) de-constructing his own life, his partners’ and then what’s left of his second career. Frank is the sort of man interesting to talk to when sober but profoundly irritating when he’s not and indulging in yet another round of self-pity. All this Conaghan accomplishes admirably.

Danielle Flett’s Rita erupts into Frank’s study as a whirlwind of physical restlessness and verbal overspill. Flett establishes this hairdresser who wants to improve her mind with an intensity which makes most of her first act speeches too much of an accented gabble. The part requires some extremely quick costume changes as time passes and Rita grows out of her restrictive home and work life into one which broadens both her cultural and social existence.

Three and a half-star rating.

Educating Rita runs at the Queen’s Theatre, Hornchurch until 13 May with matinĂ©es on 27 April and 6 May.

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Much Ado About Nothing

(reviewed at the Mercury Theatre, Colchester on 6 October)

Made in Colchester’s contribution to the Shakespeare quatercentenary is a production by Pia Furtado of Much Ado About Nothing. As befits a garrison town, the location has been shifted out of Italy and the period updated to somethng obviously modern, though neither of the two 20th century world wars.

So far, so good. There’s an effective opening in which, above the heavy done of transport aircraft, the returning soldiers chant Rebecca Applin’s setting of repeated “Going home”. Designer Camilla Clarke gives us an all-purpose canteen, presumably attached to Leonato (Paul Ridley)’s home. Margaret (Kirsty J Curtis) seems to be its manager with Beatrice (Danielle Flett) and Hero (Robyn Cara) offering spasmodic help. This is not peace, however, just a temporary lull in the fighting.

I’ve no quarrel with Don John, commander Don Pedro (Robert Fitch)’s rebellious half-brother, being transformed into an embittered woman by Polly Lister. But why on earth isn’t that giveaway masculine title simply changed into something like “dame”? It jars on each recurrence and detracts from Lister’s own excellent characterisation.

This is presumably a Roman Catholic (or at any rate High Church) part of the country, if the large statue of the Madonna is to be taken as something other than mere set dressing, so why have a woman minister (Emmy Stonelake) who everyone keeps on calling “he” and Friar Francis? It doesn’t make sense.

Furtado gives us an overlong disco-style party whose exhuberance somewhat smothers Don Pedro’s wooing of Hero for Claudio (Peter Bray)’s benefit. She also slices the interval midway in the church scene, thus losing rather than building the tension. The watch scenes go for nothing with Karl Haynes’s Dogberry overemphasising his malapropisms to the point where there is no humour at ll.

Jason Langley’s Benedick is well spoken and acted; Flett never quite matches, let along surpasses, him. They do manage the lethal “Kill Claudio” echange extremely well. Bray doesn’t project any of Claudio’s charm; Chris Charles’ Borachio has this n abundance and produces some of the evening’s best-spoen dialogue.

Much Ado About Nothing runs at the Mercury Theatre, Colchester until 15 October. There are matinées on 8, 13 and 15 October.

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Filed under Plays, Reviews 2016