Review: BETWEEN RIVERSIDE AND CRAZY at The Gamm Theatre

We all know the saying, “A man’s home is his castle,” and sometimes there is no telling what an individual will do to protect what they consider to be their own safe haven and private space. In Gamm Theatre’s captivating production of Stephen Adly Guirgis’s powerful, gritty, Pulitzer Prize-winning play, ‘Between Riverside and Crazy,’ Walter “Pops” Washington is the quintessential example of a man who, despite his age and declining health, holds reign over his marked territory like a lion in the wild that won’t hesitate to ward off any trespasser with force.

Pops (Cliff Odle) is a recently widowed, retired New York City police officer, living in a rent-controlled Riverside Drive apartment with his makeshift family, including his son, Junior (Daniel Washington), who just got out of prison; Junior’s outspoken, expectant girlfriend, Lulu (Luz Lopez); and Oswaldo (Arturo Puentes), Junior’s former-addict friend. As a token of respect and affection, Lulu and Oswaldo call Pops “Dad,” while he and Junior bicker and banter like any typical father and son would living together under the same roof. Although the robe-clad Pops routinely raises his voice to stand his ground as often as he refills his glass, there is a palpable level of comfort and loyalty among the members of his household.

After Junior calls his father’s attention to an eviction notice, the audience learns there is even more astir than just their housing status when Pops’ former partner, Detective Audrey O’Connor (Rachel Dulude), and her fiancée, Lieutenant Caro (Anthony Goes), come over for dinner, with an ulterior motive to persuade him to drop a pending lawsuit against the NYPD. Pops was off duty when a white rookie cop shot him at a sketchy after-hours club, and now eight years later, Pops still refuses to accept any settlement offer, even when Audrey tries to sweeten the pot by asking him to walk her down the aisle.

Racism, corruption, coercion, and how they all relate to socioeconomic status, is hardly light subject matter, yet the simple, insightful dialogue, when not purposefully heated or sinister, is also very funny. Oswaldo takes pride in recognizing names and faces in the newspaper until Pops reminds him that they’re all criminals. Lulu’s commentary is mostly idiotic (especially when the officers share war stories), yet she knows precisely how to push Junior’s buttons and keep him on a leash. Pops is also visited by a Church Lady (Maria Albertina) whose presence, let’s just say, has a lasting impact, in the most unexpected albeit hilarious way imaginable. Despite the recurrent laughter and Pops' steadfast disposition, his future and wellbeing is uncertain, and the air on stage drips with that ominous feeling of despair.

In his Gamm directorial debut, Jeff Church skillfully and fastidiously guides this impressive ensemble, as the performances complement each other with precision and emphasis, and set designer Michael McGarty’s stark, detailed recreation of a weathered, cluttered tenement dwelling perfectly and effectively conveys the storied, arduous life of its inhabitants.

Odle’s performance as Pops is extraordinary, never missing a beat, whether it’s his deadpan reaction to Junior’s obstinance, or unapologetic rage and resentment when his so-called friends treat him unjustly. Goes and Dulude are both remarkable as the soon-to-be husband and wife team whose desperation for Pops to cooperate tests the limits of their loyalty. Goes is spot-on as the model of shameless ambition, and Dulude is equally imposing as the agent torn between affection and accountability. The scenes shared by these three fine actors are devastating and especially compelling.

Puentes is incorrigibly endearing as Oswaldo (although we also witness his inner demons at work), Lopez delights as the emptyheaded yet earnest Lulu, and Washington exudes charm and sympathy as Junior. Albertina’s portrayal of the tenacious Church Lady can only be described as unforgettable.

‘Between Riverside and Crazy’ is a reminder of the important role Guirgis maintains in the canon of playwrights, and Gamm’s production is an exemplary showcase of outstanding performances, artful direction, and eloquent storytelling.

‘Between Riverside and Crazy’ runs through March 9th at The Gamm Theatre, 1245 Jefferson Boulevard in Warwick. For tickets and information, call 401-723-4266 or visit www.gammtheatre.org.

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