Between Riverside and Crazy

As its namesake suggests - Second Stage Theater has given a second chance to a first rate off-Broadway production, Stephen Adly Guirgis' Between Riverside and Crazy, originally seen last season at the Atlantic Theater just a few blocks south.

Aptly directed once again by Austin Pendleton and acted by almost all the original cast in it's debut production, this incarnation seems to pick up just where it left off - even growing and gelling as it ages.  The ingenious rotating disk set by Walt Spangler transforms a small stage into an entire apartment plus a rooftop off to the side.  I d not know the history of the production at the Atlantic but would assume, after experiencing it first hand (the second time around), that there was likely much interest in this work and the Atlantic just couldn't house it under its own roof.  I applaud 2ST for snatching it up and extending its life.

Pops (Stephen McKinley Henderson) helms the ensemble piece like a old pro.  The aging retired and injured black police officer navigates his tumultuous life (The Riverside part) after the force with his less-than-stable family situation (The crazy part) ever-present in his life.  Supporting his fine performance are Oswaldo (Victor Almanzar), Detective O'Connor (Elizabeth Canavan), Lieutenant Caro (Michael Rispoli), Church Lady (Liza Colon-Zayas), Lulu (Rosal Colon), and his son, Junior (Ron Cephas Jones).

Mr. Guirgis' characters are real and present.  Most are complex rather than one-dimensional.  The story he weaves is both specific and modern.  However, because Pops is complex, he is able to weave an air of mystery into Pops' motivations and actions which mostly succeeded.  If I had to point out one thing which may need to be improved it is the speed at which the ending comes out of nowhere and concludes the show.  Somehow this probably needs to be slowed down an backed up into the show with a bit more so the effect is smoother.

Storefront Chruch

John Patrick Shanley's new work is a powder-keg.  The third and final work in his trilogy that started with Doubt, continued with Defiance, now ends with Storefront Church.  (One wonders why, given the plot, it is not named Debt).  Staged at the Atlantic Theatre Company's Linda Gross Theatre, a former church, itself, the play explores the ethics and power behind and between religion and politics and their, some would say, dangerous, others would say, rewarding intersection.

Sharp, intelligent dialogue.  Powerful performances.  Thought provoking and relevant plot.  These words don't even do the work justice.  You'll take a side.  It doesn't matter which one, but you'll take a side.

Bob Dishy is deliciously funny as Ethan Goldklang.  Giancarlo Esposito helms the tense production with aplomb as Bronx borough president, Donaldo Calderon.  Zach Grenier is pitch-perfect in his portrayal of fallen banker, Reed Van Druyten.  Ron Cephas Jones takes on the stoic, angry, and conflicted reverend, Chester Kimmich.  Jordan Lage plays the role of bank CEO Tom Raidenberg with aplomb.

I had high hopes for Tonya Pinkins in this production and they were dashed.  Specifically I was quite annoyed at Mr. Shanley's choice to have her speak with a Puerto Rican accent.  She was terrible at that and it would have been very simple to have her speak like an old black woman instead  - after all - she is black and we know she can do it from her award winning performance in Caroline or Change.  That alone could have turned her performance from disappointing and mediocre to pivotal and powerful and it would not have affected the plot in any significant way.

Will this one transfer to Broadway?  Doubt certainly did.  Defiance did not (and probably didn't deserve it).  Change the name to Debt (it's catchier), throw out a few elongated scene changes, and maybe skip the music, and you may just have Broadway's next hit.  After all, off-Broadway is the new Broadway testing ground these days.