REVIEW: Frankie and Johnny in the Clair de Lune at Ad Astra
- Belle Steinhardt
- Nov 9
- 2 min read
Terrence McNally’s Frankie and Johnny in the Clair de Lune (1987) is a tender comedy, underscored with Debussy’s iconic tune, that dishes out the age-old question: do soul mates really exist? Intimate and vulnerable, this two-hander found a natural home in the cosy black box of Ad Astra’s latest venue, Pluto.
The play centres on a one-night stand that evolves into an all-night exploration of love and loneliness between café co-workers. We follow Frankie, a wary waitress burned one too many times by past relationships, and Johnny, a short-order cook whose romantic idealism persists despite Frankie’s initial resistance.
Sustaining the emotional intensity of this work for over two hours requires truly committed actors; Candice Hill (Frankie) and Nathaniel Currie (Johnny) rose to this challenge magnificently. Together, Hill and Currie completely captivated the audience, transporting us straight into Frankie’s claustrophobic one-bedroom apartment in Hell’s Kitchen for a wild and very intimate ride the second the houselights dimmed.
Hill is mesmerising as the initially guarded Frankie; watching her walls slowly come down as the audience learns of her misadventures is both harrowing and heart-warming. While the spunk Hill brings, paired with impeccable comedic timing, makes the banter between the pair electric.
The sexual politics of this once-revolutionary work feel noticeably outdated today. Johnny’s relentless pursuit doesn't read as romantic charm and his refusal to take ‘no’ for an answer made some audience members audibly wince. Currie delivers nuance to his portrayal and absolutely wins us over by the second act; but, there were moments where the comedy of the chase didn't quite sit.
For example, the climax of Act 1 lingers in slapstick for too long, which ultimately weakens the emotional impact of the scene. Frankie abruptly shifts from throwing anything she can at Johnny while demanding he leave her apartment, to passionately embracing him the next, with little hesitation. This moment is crucial to understanding her complexity, yet the comedic approach diluted the emotional impact and made this drastic transition difficult to comprehend.
A personal standout of this production was the meticulously designed set, created by the production’s director, Fiona Kennedy, and assistant director, Prue Robb, which was brought to life by Scott Lymber. From the refrigerator fitted with an old-school icebox to the floral quilted duvet topped with Nana’s crocheted blanket, and the especially glorious Tupperware collection, every detail was deliberate and helped send the audience back in time. With Kyle Royall-West’s lighting and sound design, New York City became an unspoken third character, driving the action.
With a direction grounded in realism and filled with refreshing choices, Kennedy created an authenticity that drew the audience in like flies on the wall, as we witnessed Frankie and Johnny in their most raw and unguarded. I particularly loved the cooking sequences, with Frankie preparing a meatloaf sandwich and Johnny whipping up his infamous Western omelette; each scene was delightfully unique and charming.
The creative team has delivered a stunning production. The season runs until 22nd November and is suited to a mature audience ready to stay up late and fully immerse themselves in an unforgettable evening, with matinee performances available for those who prefer an earlier show!
