July 2010 Theatre Review by Nicholas Ryan Lamb
Frankie & Johnny in the Clair de Lune
I
first saw this script performed about 8 years ago and had the
fortune of working a scene from it while studying for my
undergrad. I adored this piece, full of quirkiness and the
necessity to push past oneself to explore and trust others. The
characters carrying so much baggage and hurt through life and
crossing paths at work leads to a night so fulfilling and so
scary. The straightforward Johnny engulfed by his emotions and
clearly wearing them on his sleeveless sleeve doesn’t allow
Frankie, the cautious yet tip-toeing with curiosity, waitress.
They both had reached a point in their lives where if it didn’t
happen now, whatever “it” is, then what’s the
point? Love and an undeniable magnetic attraction both repel
but in the end the opposition is what attracts them.
Clearly Amelia Barrett (Frankie), Bryan Burke (Johnny), and Connie Canaday Howard (Director) share a trust that goes beyond one normally found within a cast. This being the second time they teamed up to tackle the soul of this script is very obvious. The script itself is very challenging in that the characters are more real than could be read on paper, quirky but real. The astounding number of beat changes that they go through and the delivery of them are very clear and precise. I have stated in other reviews that I expect more out of actors that hold the title of equity and these two clearly exemplify this nomenclature.
The oddity of the script to have a possible ending at the end of act one is delicately timed giving the audience the feeling that this was too easy and that the characters have to show their truer colors...and they do. The ease in directing in a seemingly cramped and difficult environment is what that many could learn from. I love when I can go see a show that is picked for the inner story, the inner beauty, and the inner pressure cooker-like turmoil that has nowhere to go but the path of love.
I enjoyed how the set kept the action in a non-linear moving sense with the subtle changes in lighting from the practicals to the sun/moon effects. The majority of these elements were very believable except a few things. As a disclaimer none of them took away from the show but are mentioned with the intention of learning. I noticed the moonlight GOBO facing downstage was shuttered wider than the window&ldots;this could either be an oversight or due to the GOBO itself not being able to be shuttered while remaining effective. The other thing I noticed were a couple furniture props not being period and the newspaper had a clear image of what looked like an IPAD or similar device. I know these are very specific insights but they caught my eye.
But again this show is a must see and one to pay attention to every detail and delivery as I’m sure if I saw it again and again I would keep having new wonderful revelations. Outstanding and gripping performances earn a standing ovation. This show produced by the Buffalo Theatre Ensemble and is performing through July 25, 2010 at the McAninch Arts Center located at 425 Fawell Blvd. in Glen Ellyn. For tickets call 630-942-4000 or go to www.atthemac.org.
About Nicholas Ryan Lamb
Nicholas
Lamb is a graduate from Illinois State Universities acting program
with a secondary focus on directing. He is also a graduate from
SAK Universities improv school. As an accomplished actor he has
performed in dozens of shows with his most notable credits including
the title role in "Scrooge" the musical, Adan in Milcha
Sanchez Scott's "Roosters" and Nicely Nicely Johnson in
"Guys and Dolls". He was last seen on stage in "A
Leading Woman" and as Matt in "The Fantasticks".
Some of his most known directing works are "Barefoot in the
Park", "The Secret Garden", and the well received "Birdbath".
Not only has he worked numerously with acting and directing but his training also includes the technical areas of theatre as well as film work. He has directed in both Illinois and Florida for over 7 years. He most recently directed the children's shows of "Charlotte's Web", "Aladdin and the Magic Lamp", and "Pinocchio". His palette for theatre is that of a culinary connoisseur. Theatre is something to go in with an open mind, which is how he approaches each show he critiques.