‘Rather dismal, thinly characterised, and ill-lit variation on Pygmalion,” complained critic Leslie Halliwell when the film version of Educating Rita was released in 1983. But that didn’t stop the film from being nominated for three Oscars, and winning a whole slew of other awards. Even today, it is treasured for iconic performances by Michael Caine as Frank, a jaded, seen-it-all-before professor, and Julie Walters as Rita, his fizzing, enthusiastic Scouse student.

Now, 32 years after the original stage version first opened in the West End, Willy Russell’s Educating Rita is revived in a new production starring Matthew Kelly and Claire Sweeney. Nothing has been updated: no computer sits on the desk in Frank’s book-lined office (set designer Tim Shortall), and no one tells Rita that she can’t smoke when she visits. This gives the play a period feel, and invites an intriguing question: how much would Rita actually need Frank in today’s Internet age?

But, thank goodness, Russell is writing about good, old-fashioned, face-to-face human relationships. To start with, Frank and Rita are on different wavelengths. “Me hoosband thinks I should have had a baby by now, but I’m still on the pill,” Rita announces in her thick Scouse accent. She is a working- class hairdresser, and Frank’s bemused reaction suggests that he has little idea of the priorities in her world. On the other hand, her thirst for knowledge and literary debate is irresistible: “Why didn’t you walk in here 25 years ago?” Frank asks wearily. For a while there is less recourse to the stash of whisky bottles hidden behind the sober, academic books on his shelves.

Matthew Kelly’s shaggy-haired Frank looks as if he has slept in his clothes. Kelly expertly builds a vulnerable, multi-faceted character, whose career is on the skids — he has been formally reprimanded for being drunk while delivering a lecture. At home, all passion has gone from his marriage. Like Michael Caine before him, Kelly makes the part look easy, and totally believable.

Claire Sweeney’s career has largely been on television and in stage musicals. She seems less at home in a straight acting role, and unfortunately doesn’t really get under Rita’s skin — there is little sign that Rita is initially very class-conscious, for instance. But she does clearly make the point that Rita comes to dominate Frank: “I’m going to take 10 years off your life,” she cries at the end, forcing his legs apart. Then she takes a pair of scissors to his shaggy hair.

Until Saturday. Box office: telephone 01865 305305 (www.oxfordplayhouse.com).