Frankie & Johnny in the Claire de Lune is a sweet, engaging slice of life

While waiting to review Frankie & Johnny in the Claire de Lune starring Dallas actors Ashley Wilkerson and Christopher Piper, currently in production at the Dallas Hub Theater and running through Sat. Jun. 13, I found myself thinking about a published article entitled "Is Broadway Going Black?"

In the article, the author looked at what appeared to be a trend in cross-cultural casting, meaning all-black casts and/or black actors playing roles typically reserved for white actors.

The recent staging of Cat on a Hot Tin Roof by noted American playwright Tennessee Williams fits the description, who producers had to secure permission from Williams' estate to put on the play with an all black cast.

Other examples include award-winning actors James Earl Jones and Leslie Uggams starring in a stage version of On Golden Pond, made famous by Henry Fonda and Katharine Hepburn in the film version; 2-time Oscar winner Denzel Washington starring as Brutus in a production of Julius Caesar, alongside co-star Tamara Tunia cast in the role of Caesar's wife Calpurnia; S. Epatha Merkerson of Law & Order fame wowing critics for her role as Lola Delaney in Come Back, Little Sheba; and more recently Phylicia Rashad as Violet Weston in the critically acclaimed and award winning August: Osage County.

In this Dallas version of Terrence McNally's award winning play, both leads are African-American. When the play first opened on Broadway in June 1987 at the Manhattan Theater Club, it starred white actors Kathy Bates and Kenneth Welsh. A revival of the play featured popular actors Edie Falco and Stanley Tucci, both of Italian heritage, with the roles subsequently filled by actors Rosie Perez and Joe Pantoliano, both of Latin ancestry.

Because of this, I was slightly anxious to see how the casting choice in this production would parallel with the playwright's intention of two middle-aged souls who find themselves and each other in what appears to be the beginning of a lifelong relationship. In Dallas, where racial conflicts are worn like a badge of honor and cross-cultural casting and productions are still very much a work-in-progress, this would represent an accomplishment of sorts for minority talent.

As directed by the accomplished Catherine Hopkins, Artistic Director of PublicWorks Theatre Company, whose recent directing credits include the gripping play Lower Ninth during the recent DFW Fringe Festival, Frankie & Johnny stayed true to McNally's intent.

What made this production fascinating was while the issues of dating, relationships, family, and trust that Wilkerson and Piper explore as Frankie and Johnny are universal themes everyone can relate to, the fact both actors were African-American lent an additional human dynamic that wouldn't have otherwise been present given the historical challenges black males and females have had forming lasting relationships.

In the first act, we find Frankie, a waitress and former budding actress and Johnny, a short order cook at the same restaurant, fresh from a 1-night stand and giddy with laughter. Johnny is positive he has found his soul mate. He comes on so strong that at times its cute, and other times it appears to border on stalking only Frankie is trapped - - in her own apartment that Johnny refuses to leave until she hears him out.

Piper delivers a strong and authentic portrayal of Johnny throughout the play, whether its talking non-stop to prove his compatibility with Frankie, once saying "I admit, I love the sound of my own voice" or when learning they have a lot in common, he exclaims in a eureka-type moment "this is better than Shirley MacLaine!" As he moves further and further into Frankie's emotional space, she is even more conflicted, especially when Johnny repeats like a mantra "this is the first time something like this has ever happened to me."

In countering Johnny's persistence, Wilkerson plays Frankie effectively with an impressive mix of humor, sass, tenderness, grit, street smarts and vulnerability. It is in those moments of weakness that Wilkerson really shines, including a statement Frankie makes to Johnny "there's something about you that makes me feel like I'm letting you down." As she said those words, I thought about black women today who seek companionship with black males despite a lack of trust and a perception that all of the odds are stacked against them.

In the second act, we find the pair peeling back the layers of protection each has around their heart, Johnny more direct and Frankie more cautiously. Both Piper and Wilkerson masterfully navigate the audience through this emotional terrain like well-learned travel guides, making you feel Johnny and Frankie's longing and apprehension in the same moment.

An example of this is a revelation Johnny makes to Frankie about her anxiety over connecting with him permanently "that's your problem. You want to hear anything you don't think you already know. Well, I'll tell you something Cinderella, your Prince Charming has come."

Piper and Wilkerson are both relatively young-looking actors but embodied their middle-aged characters like a well-worn glove with the assistance of makeup and costuming. The chemistry between the actors was contagious, and watching their interaction made this production of Frankie & Johnny paramount to looking at something old, beautiful, yet comfortable and familiar.

For more info: Contact the Dallas Hub Theater at 214-749-7010 or visit www.dallashubtheater.org or www.shane-arts.com. The Dallas Hub Theater is located at 2809 Canton St., Dallas, Texas. Frankie & Johnny in the Claire de Lune is being produced by special arrangement with Dramatist Play Service. Tickets are $15 and can be purchased by clicking on this link. Remaining performances are Thu-Sat, Jun. 11-13.

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