Review: BETWEEN RIVERSIDE AND CRAZY Makes Strong DC Premiere at Studio

Stephen Adly Guirgis' Pulitzer Prize winning-play BETWEEN RIVERSIDE AND CRAZY, now making its DC area premiere at Studio Theatre, made a splash when it played at New York's Atlantic Theatre Company and Second Stage in 2014 and 2015, respectively. It likely resonated with those concerned about race, ethics/morals, messy and dysfunctional families, substance abuse, and even the changing New York City real estate landscape (rent control is all but a pipe dream for most now). Yet, the uniqueness of Guirgis' play is that it isn't one of those now almost standard plays that achieves interest because it touches hot button topics and includes messaging pertinent to the current American experience. At the core of the play, much like Guirgis' MOTHERF***ER WITH A HAT (which also made its DC premiere at Studio in 2013), is a dramatically interesting and far from clear-cut story involving richly complex characters. Those people, and that story, drive the play rather than the overarching themes themselves. At Studio, a uniformly strong cast - led by Frankie R. Faison - brings these rich characters to life, never apologizing or backing down from the messiness on display. It's a family and friends-based drama of the best sort.

Walter "Pops" Washington (Frankie R. Faison) is a retired New York City cop, still reeling from the loss of his wife. He shares his "palatial" rent-controlled Riverside Drive apartment (meticulously designed by Lee Savage) with his now-out-of-jail son Junior (Bryant Bentley); Junior's vapid and scantily-clothed, but probably ultimately well-meaning girlfriend Lulu (Jasmin Tavarez); and Junior's friend Oswaldo (Sean Carvajal), who continues to struggle with family issues of his own and getting his life back on track. Not an ideal bunch for sure, but every one of them refers to Mr. Washington as "Pops" who clearly enjoys their company despite the chaos they bring.

However, Walter isn't free of personal chaos himself. Eight years ago, while off-duty, he was shot six times by a white police officer and has had an active lawsuit against the city/the force ever since. Questions about his responsibility or fault for the incident creep up when his old partner Detective O'Connor (DC theatre regular Emily Townley) and her fiancé Lieutenant Caro (David Bishins) visit Walter's home and offer unwanted - but from their perspective well-intentioned - advice on how to end the legal battle. Walter, faced with eviction and a whole host of other issues, refuses to budge.

When he's visited by a mysterious Church Lady (Cristina Frias) - in what is probably the most shocking and provocative scene of the play - he's then faced with a life-altering situation. This incident prompts him to think deeper about his legal situation, which ultimately has consequences for not only his own life, but that of his "kids," and his former colleague. Yet, the decisions made, and the advice given on the part of all of the characters - including Walter himself - aren't always the result of cut and dry thinking about what's right and what's wrong. Opinions and perspectives never waiver, but Guirgis is clear that the space in which these characters inhabit is far from this or that. As the title suggests, there's a messy middle space, which is the most natural for them - and, let's face it - the most interesting to observe.

Under the direction of lighting designer-turned-director Brian MacDevitt, the entire cast flourishes with the rich dramatic material they've been dealt. All are adept at traversing the comedic and dramatic lines present within Guirgis' play, and always staying true to their characters. No one character is simply entirely as he or she seems initially, the cast excels at peeling back the layers when necessary at the service of the dramatic work.

Questions emerge at the end of the play, but they're the good kinds of questions that stay with the audience long after the performance, much like the strong acting work onstage. Wildly entertaining, thought-provoking, and unflinching, this production is one to see.

Running Time: About two hours and twenty minutes, including one intermission.

BETWEEN RIVERSIDE AND CRAZY is currently playing through February 28, 2016 at Studio Theatre - 1501 14 Street NW in Washington, DC. Tickets can be purchased online or by calling the box office at 202-332-3300.

Caption: Bryant Bentley and Frankie R. Faison in BETWEEN RIVERSIDE AND CRAZY at Studio Theatre. Photo by Igor Dmitry.