Frankie & Johnny in the Clair de Lune

There may be some theatre snobs who won’t go to see this beautiful production because of a stupid misconception (as someone said to me) that “TV actors are never any good on stage”. It’s utter rubbish in most cases, and most particularly in THIS case. Yes, Director Collette Man and her two stars, Kate Kendall and Damien Richardson, are all regulars in TV “Soap” Neighbours, but all that proves is how incredibly versatile and talented all three are.

McNally’s stunning play is about the fear of connection, the alienation of loneliness, the redemption of love. It is, unfortunately, mostly remembered for the appalling Hollywood Hash of a film which proved how two terrific actors (Al Pacino and Michelle Pfeiffer) could be excruciatingly bad with the wrong director. Fortunately, Collette Mann has finer instincts and sensibilities with her actors. Frankie works in a diner, Johnny is the cook – and unapologetic romantic – who believes the linking of their names is more than just synchronicity, and so they have a date which winds up with them in bed….and that’s the easy part of the relationship. It’s what lies beneath that threatens to swamp them.

Kate Kendall is superb as Frankie, bruised, maybe damaged beyond repair. She plays the waitress (who once aspired to be an actress) with a suppressed anger and terror that is palpable. The cost of trusting even one person and letting her guard down, is way too high. Kendall’s acting is deeper than it is broad. We feel her need to love and be loved, even as she determinedly pushes it away. It’s a beautifully measured performance and totally credible at every turn, every move. Mann has given her two actors a reason for every move, every piece of blocking. If at times it seems too frenetic, that’s the truth of the situation. Neither of these characters are able to stand still and deal with what is confronting them. It’s too ginormous, too scary.

Damien Richardson brings us an annoyingly desperate Johnny who tries too hard to impress, to be romantic, to woo the un-wooable. It’s a brave reading of the character because there’s a danger that some will mistake the actor for the reading (as one critic has already done). This Johnny is not bitter, not cynical…he’s hyper, and a little scary because he gushes, and shouts, and overworks his case. He’s running on adrenaline and if he stops he might never start again. There are times when you want to slap him because he’s so annoying. That’s intended….that’s precisely how Frankie feels.  But then we see through the bluster and the pain to the vulnerability underneath and we want to hold him….just like Frankie does. It’s this love/hate reaction to the extremes that gives us true insight. That’s clever direction and excellent acting, and if some people just don’t get it, perhaps the fault is in them. It was abundantly clear to me.

Jacob Battista, whose work I am not always fond of, has outdone himself with a set that is totally convincing as Frankie’s one roomed apartment. It’s the perfect set, a real place where she feels safe and can function, and we believe it is her haven. There’s even a working kitchen which adds so much to the credibility when Johnny cooks for Frankie to show his love; an absolute masterstroke. (I could smell the omelette and was wistful….a man who can cook is a keeper).

Lighting designers Michael Tait and Chris Kappa are also “Neighbours” Alumni, and they bring an innovative freshness to stage lighting. Lighting transitions are cued to movement (though they could be more gently treated on the dimmers…not so abrupt), and an integral part of what makes the lighting plot work is the use of OUTSIDE the theatre. Director Mann uses the alleyway outside the theatre and the huge arched windows to create a world outside. The lighting gives us streetlights, and the moon – all in the alleyway – and a sunrise to fall in love by.

This is clearly a work of love from all concerned, and it is that little extra something which makes this very special and worthwhile theatre.

Coral Drouyn