Frankie and Johnny in the Clair De Lune
"Frankie and Johnny" is familiar. Many of us saw the movie version starring Michelle Pfeiffer and Al Pacino during the 1980s. When Edie Falco and Stanley Tucci starred in a revival of Terrence McNally's play a few years ago, many more of us wished we had witnessed that performance. Count me in. Tucci has been a favorite of mine since his days at New Haven's Yale Repertory. Anyone who has watched an episode of "The Sopranos" would be intrigued to see Falco in another role.
But, let's talk about the compelling Hartford Stage production which concludes on June 18th. McNally's script, first of all, is splendid. It's decipherable, recognizable but complex. She is a waitresses in a greasy spoon where he's a short order cook. She is black, bold, and brassy. He is white, bold, and brassy. Each has suffered misforunte. These are seasoned warriors. Neither, during a couple of hours which bids actors disrobe, demonstrates what "Vogue" might describe as a flawless body.
Director Jeremy B. Cohen has made wise choices. Casting people of different races enriches the production. These individuals are comfortable with: one another, nudity, cavorting about the bedroom, traipsing into the kitchen while half-naked, tangling on the double bed..... They are believable and sympathetic -- great stuff.
Portia, who plays Frankie, and Robert Clohessy, as Johnny, make it seem like they've been involved for months. Yet, this evening is their first one together.
Unfortunately, Portia (and this is most apparent during the early moments) tends to over-enunciate. Yes, everyone hears her quite clearly. But, her effort to specify and project (important, to be sure) lessens the intimacy. The actor needs to balance vocals with the scene -- which is touching, comic, and signficant.
Neither Clohessy nor Portia demonstrate the slightest degree of self-consciousness. The sexuality inherent within "Frankie and Johnny" is natural. Given the cluttered, reality-based settings furnished by Takeshi Kata, theaterviewers feel close to the action rather than distanced.
The opening segment of the Hartford Stage production immediately hooks you through Lindsay Jones' original music. And Jaymi Lee Smith, throught the show, provides deft strokes of lighting. It's dingy but moonlight casts its glow upon the interior of Portia's place.
Clohessy and Portia invite the audience to participate, vicariously, as they insult one another, examine one another's body parts, trade sarcastic barbs.....begin to forge a relationship that might survive.
"Frankie and Johnny," juxtaposed against Debussy's lovely "Clair de Lune," is open, honest, inviting theater. Yes, it's imperfect -- so is life.
But, let's talk about the compelling Hartford Stage production which concludes on June 18th. McNally's script, first of all, is splendid. It's decipherable, recognizable but complex. She is a waitresses in a greasy spoon where he's a short order cook. She is black, bold, and brassy. He is white, bold, and brassy. Each has suffered misforunte. These are seasoned warriors. Neither, during a couple of hours which bids actors disrobe, demonstrates what "Vogue" might describe as a flawless body.
Director Jeremy B. Cohen has made wise choices. Casting people of different races enriches the production. These individuals are comfortable with: one another, nudity, cavorting about the bedroom, traipsing into the kitchen while half-naked, tangling on the double bed..... They are believable and sympathetic -- great stuff.
Portia, who plays Frankie, and Robert Clohessy, as Johnny, make it seem like they've been involved for months. Yet, this evening is their first one together.
Unfortunately, Portia (and this is most apparent during the early moments) tends to over-enunciate. Yes, everyone hears her quite clearly. But, her effort to specify and project (important, to be sure) lessens the intimacy. The actor needs to balance vocals with the scene -- which is touching, comic, and signficant.
Neither Clohessy nor Portia demonstrate the slightest degree of self-consciousness. The sexuality inherent within "Frankie and Johnny" is natural. Given the cluttered, reality-based settings furnished by Takeshi Kata, theaterviewers feel close to the action rather than distanced.
The opening segment of the Hartford Stage production immediately hooks you through Lindsay Jones' original music. And Jaymi Lee Smith, throught the show, provides deft strokes of lighting. It's dingy but moonlight casts its glow upon the interior of Portia's place.
Clohessy and Portia invite the audience to participate, vicariously, as they insult one another, examine one another's body parts, trade sarcastic barbs.....begin to forge a relationship that might survive.
"Frankie and Johnny," juxtaposed against Debussy's lovely "Clair de Lune," is open, honest, inviting theater. Yes, it's imperfect -- so is life.
posted by Fred Sokol at 4:54 AM
1 Comments:
hi fred sokol. iwas begining to wonder about you. i looked for your coloumns in the paper.and didnt see your name anymore.until this sunday.im glad to here your doing well.the name fred sokol will always ring a bell. from the cool sunglasses on sunday at the bill to headband at the jcc.but the thing that will be etched in my mind is that 2 handed set shot.
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