STAGE REVIEW : A ‘Frankie and Johnny’ That Works : Theater: North Coast Rep’s production of McNally work makes its points nicely and should get better with practice.

If you go to the North Coast Repertory Theatre’s “Frankie and Johnny in the Clair de Lune” expecting the flash of nudity that traditionally starts the show, forget it. Yes, the play still opens with the lovemaking scene between Frankie, the waitress, and Johnny, the short-order cook. But, when Frankie crawls out of bed, she slips on a nightie under the covers, instead of walking naked to the bathroom.

The nudity was not in the original script just for shock value. It was there to set up Terrence McNally’s no-holds-barred story of two middle-aged people, neither one handsome, rich or successful, who look at each other--warts and all--and then struggle to overcome their own fears, self-doubts and suspicions in an attempt to make love work.

But, even without that electrifying start, the two-person show, which continues at the North Coast Rep through Sept. 12, makes its points. Credit for what works goes to the writing and to the actors: McNally’s earthy and funny dialogue, and the talented, appealing, but decidedly unglamorous Vinny Ferrelli and Lynette Winter. In contrast, the movie version of the play, “Frankie and Johnny” never overcame the convolutions of McNally’s expanded plot or the absurdity of its casting: Michelle Pfeiffer as the “plain” waitress and Al Pacino as the hash-slinging Johnny who reads a little Shakespeare on the side.

Under the direction of Olive Blakistone, artistic director of North Coast, the play pulses with potential, but has an under-rehearsed feel--possibly due to the fact that it didn’t load in until the company’s super-successful, much-extended “Rumors” closed last Sunday. Countless little dramatic moments fail to get their proper weight--particularly near the end when Frankie reveals a great secret.

The audience didn’t seem to mind, however, due to the dynamic tension between the two actors. Ferrelli, an under-used performer with great comic timing, has to drive the action despite Frankie’s resistance. He does it, pushing, pushing like the Little Engine That Could. Thanks to his straight-faced delivery, one of the funniest lines comes from the sight of this short and scrappy actor in boxer shorts saying, as he chops up an onion and green pepper for Frankie’s sandwich, “I know what you’re thinking. This guy is just too good to be true.” As for Winter, her hard-bitten and nervous demeanor evoked a heartbreaking Frankie with a long history of disappointment.

In this show about feelings rather than plot, atmosphere is everything. And the technical team has it all together in the atmosphere department.

Marty Burnett’s set design subtly suggests the drabness of Frankie’s apartment--with its mass-produced looking green appliances, brown woodwork and yellow countertops. Samantha Terzis’ lighting design is the best that the company has used in a long time--moving, without fuss from the moon shining through the blinds to the rising of the sun. John-Bryan Davis’s costume design--boxer shorts for him, a robe for her--provide just the right individually tailored splashes of color. The sound design by Nicolas Reveles could provide a little more of the urban New York background in which the play is set, but he does well in setting up the gentle, slightly scratchy music coming over the radio that changes the way the two lovers look at each other.

The Gaslamp Quarter Theatre Company had a fresh take on “Frankie and Johnny in the Clair de Lune” when they cast African American actress Pam Grier opposite white actor William Anton in the show’s San Diego debut back in 1990. That worked well, but the North Coast proves that traditional casting can be effective too. The essence of the tale remains--that love is possible for everyone who doesn’t give up on it.

Now all this production needs is a little more time to ripen.

“FRANKIE AND JOHNNY IN THE CLAIR DE LUNE”

By Terrence McNally. Director is Olive Blakistone. Set design by Marty Burnett. Lighting by Samantha Terzis. Costumes by John-Bryan Davis. Sound by Nicolas Reveles. Stage manager is Paul Chirco. With Lynette Winter and Vinny Ferrelli. At 8 p.m. Thursdays-Saturdays and 7 p.m. Sundays with Sunday matinees at 2 through Sept. 12. Tickets are $12-$14 with $2 discount for senior, students, military. At Lomas Santa Fe Plaza, Solana Beach, 481-1055.