Between Riverside and Crazy
Stage West Theatre
Reviewed by: Natalie Shaw
There's a fine line between illusion and authenticity when it comes to the image we must hold uphold for ourselves. Who we are at work versus who we are at home are usually two very different people. For some, it's difficult to shrug off the professional demeanor when we're around friends and family. We're seen as cold or stand-offish because we want to maintain the same order that is so efficient for us during the work week. For others, it's difficult to survive in the cut-throat and competitive professional world because we simply can't lower our moral standards to please an employer. We are caught in the middle. But, the question is, why are we caught in the middle? We've created a society for ourselves in which we must walk the line--why? Simply put, greed. We believe that, in order to maintain our dignity, we must be financially stable, be the best in our field, have more than our neighbor and have the upper hand. So, what do we do if we CAN'T uphold that image? We fake it! If we consider the title of this play, Between Riverside and Crazy, we can see that the characters are all caught between upholding a fabricated image they cannot live up to and falling off the edge, into the deep end of failure.
In New York, (our setting) Riverside Dr. runs right along the west edge of the city, extremely close to the Hudson River, and those who live there are fairly well-off, financially speaking--not rich, but not poor, either. Our protagonist, Pops, (a.k.a. Walter Washington) played by Tyrees Allen, is an elderly black man living in a spacious apartment with his ex-convict son, Junior, played by Irwin E. Daye. Pops hosts Junior's girlfriend, Lulu, played by Hannah Valdovinos and Junior's crack-addict friend, Oswaldo, played by Tomas Moquete. Pops is a former police officer, who suffered injuries after being mistakenly shot by another police officer, who happened to be a young, white rookie. A conversation among the "family" members in the beginning of Act 1 tells us that he has been in a law suit concerning discrimination against him with his former police department for the last eight years. The Department has refused to settle, but with it being an election year, they feel that it's time to offer a settlement and close the book on it. His former police partner, Detective O'Connor ("Aubrey,") played by Merri Brewer and her new fiance, Lieutenant Caro, played by Jim Jorgensen, try to convince him to sign the settlement, using every means necessary-- they flatter him, bribe him, gaslight him, and even threaten him. Regardless, Pops is not easily persuaded. In fact, the only one who holds any power of persuasion over him is Vanessa DeSilvio's character, Church Lady. Pops is a proud man, despite being a mediocre (if not unsatisfactory) husband, father and police officer, but he does his best to manipulate the thinking of those around him to convince them that he was glorious in every aspect.
Upon meeting Church Lady in the beginning of Act 2, we believe that she has Pops' best interest in mind. She tries to convince him to partake in communion with her, but when that doesn't work, she begins to tell him that she "feels things" around her and knows things about him, suggesting that she has psychic abilities. At this point in the play, we're unsure why exactly she is trying so hard to impress him; she is, after all, supposed to be a woman from the church who is visiting him after he has experienced a traumatic event. We find out later. When he doesn't fall for her voo-doo mumbo jumbo, DeSilvio craftily weaves a web around Pops, one that will have him so entangled and enticed, he will be utterly helpless and unable to escape her as his predator. At first, he objects to relinquishing control, but within seconds, Pops allows himself to give in to her advances and experience the sexual pleasure he's been missing since before the death of his wife. Allen allows his character to melt in the palm of her hand, willing to die for the delight she has to offer, be it short-lived. DeSilvio and Allen take on a master/servant relationship that pushes the audience beyond their comfort zone; one that shows us just how dangerous illusions can be. DeSilvio embodies the most radical form of illusion in this play through Church Lady, demonstrating a most alluring villain.
Much like his father, Junior has an image that he must live up to--especially in the eyes of Pops. He may have spent time in prison, but that doesn't mean he can't be a man and make his own way, illegally or not. Junior, is secretive, however, deceiving those around him through suspicious behavior. He comes and goes within the house, frequently, as if he's often on an errand. In addition to that, he leaves for a trip to Baltimore that Pops paid for, being gone for several days, rather than just a few, like originally planned. In this, he does his best to leave his pregnant girlfriend behind, trying to assure her that it's important that she stay behind. When he finally, returns, he sneaks in through the window, and tries to sway his father to believe that he'd been home for a few days and Pops just didn't notice. What is this guy up to, we wonder? Whatever it is, he's persuaded his family that there's nothing to worry about and that they can trust him. Irwin E. Daye delivers a convincing Junior, bringing the character's better traits forward, making us all believe that we can trust him--if not because he's trustworthy, than because we've grown to love him and want him to be as such. We see a man, who, despite his strict upbringing, legitimately loves and cares for his father, mother, and girlfriend.
Director Ruben Carrazana brings us a production of Between Riverside and Crazy that is flawlessly accomplished, with incredible talent on and off stage. The set is stunning,with fresh details that suggest a home long live-in. The scene changes merge into one another, allowing the characters to be in separate rooms of the house, but with the physical action being focused on the current scene at hand. Actors maneuver set pieces during scene changes, as if they would move items about in their own home, giving us a live-action feel for the events unfolding. Lighting elements are absolutely splendid, allowing for different areas/rooms of the set to be lit in different ways, suggesting transitions of ambiance in each room, as well as in each scene. Sound effects add to a real-world feel, as well, with sounds such as traffic noise and dog-scratching at the door. Carrazana brings us, not only a fascinating narrative, but an amazing soundtrack of music that goes creatively well with the play and one I wish I personally owned, myself.
Between Riverside and Crazy is absolutely riveting! As a literature, it is deeply complex; as a production it is aesthetically striking. This Pultizer Prize winning drama is not one to miss!
Audience Rating: R for language, violence, sex, drugs and alcohol
Accessible Seating: Yes
Hearing Devices Available: Yes
Sensory Friendly Showing: Not Available
Production Sound Level: Comfortable Volume
Noises and Visuals to Know About: Yelling, violence toward another person, scene involving sexual activity.
Y'all Enjoy!
Natalie Shaw
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