Toronto Review - 'Between Riverside and Crazy' at Coal Mine Theatre
Joe Szekeres, Chief Toronto Critic
Several years ago, I had the opportunity to see Stephen Adly Guirgis’ ‘The Motherf***er with the Hat’ in New York with a cast that included Chris Rock and a number of dynamic actors who handled the subject material with a raw and visceral confidence. I can recall many moments during that performance where the audience laughed outrageously at one moment while, mere minutes later, there was dead silence as we followed along with the plot and wondered where it would take us.
Unfortunately, I never saw Coal Mine’s production of this same play (which I heard was outstanding), so I was certainly looking forward to their production of Guirgis’ ‘Between Riverside and Crazy’. Would that same coarse naturalness from ‘Motherf***er’ be as amply fresh?
At this opening night performance, it was there in spades beautifully underscored by a compellingly charismatic seven-member ensemble cast under Kelli Fox’s intuitively tight direction.
The intimacy of the Coal Mine Theatre allows for an immediate and emotional connection from actor to audience. Set designer Anna Treusch places us around the playing area in a semi-circular pattern. We entered through the front door of the stage and through the tiny kitchen of this small Riverside Drive, New York apartment. This design worked marvellously for me as I was within touching proximity to the fluid raw action, and I was forced to confront the same emotions as the characters did. The revealing of the apartment balcony was very clever.
Deanna Choi’s sound design sharply captured the New York soundscape from piercing police and fire sirens to barking dogs. Steve Lucas’s lighting securely maintained my focus where necessary especially at those moments where several characters were on stage at once. Michelle Bohn’s costumes appropriately added further dimension and understanding of the characters.
We have entered the world of retired ex-cop and widower Walter “Pops” Washington’s (Alexander Thomas) apartment 67 A Riverside Drive, New York City. In this apartment we are introduced to Oswaldo (Nabil Rajo) and Lulu (Zarrin Darnell-Martin). Oswaldo and Lulu hold no blood relation to Walter, but out of affection and respect they call him Pops. Later, Walter’s son Junior (Jai Jai Jones) enters. Lulu is Junior’s girlfriend while Oswaldo is Junior’s friend. For some reason, Oswaldo and Lulu have chosen to stay in Pops’ apartment at Junior’s invitation.
Walter is dreading the arrival of the Church Lady who was around to help when his wife was so sick. The Church Lady then continues to show up after Walter’s wife passes away. The Church Lady (Allegra Fulton) plays an important role in the second act. We also meet Walter’s former police partner, Detective Audrey O’Connor (Claire Armstrong) and her fiancé, Lt. Caro (Sergio Di Zio).
There is one line from the text that Pops utters that I had to write down immediately so I wouldn’t forget it: “I thought I knew him, but who really knows anybody?”
How true! In all that life throws our way, how can we say that we really know anybody and what their real motives might be.
I’m going to try my best not to spoil any of the fascinating plot twists in Guirgis’ text. Each of these seven characters is hiding something and, shockingly, these secrets start to be revealed as the story continues. My reaction to the unravelling of these secrets all depended on the perspective I took in wanting to get to know these characters. That’s why Anna Treusch’s set design worked well here for me. My perspective of the physical setting of the apartment certainly influenced my emotional connection and ties to the characters.
Alexander Thomas’s gruff performance as Pops is a true tour de force of character development. Here is a man who has endured so much hardship in his life. For Pops, to survive means at times you must take it or leave it. He even tells a distraught Audrey O’Connor, “I thought I taught you better.” Allegra Fulton’s Church Lady certainly brought a few smiles to me in her initial conversation with Walter only to be topped by an eye-popping moment that changes the course of life for both.
Jai Jai Jones delivers a solid performance as wayward son, Junior, who so desperately wants to make a connection with his father, Walter, while striving to deal with personal turmoil with Oswaldo and Lulu. Nabil Rajo’s Oswaldo soundly shows his character arc of development in his changing relationship with Junior and with Walter. Zarrin Darnell-Martin’s Lulu is seductively inducing in her first appearance, but we see another strength of character as her relationship changes with her boyfriend, Junior and Walter.
Claire Armstrong is naturally believable as the tough as nails Audrey O’Connor whom Walter had taken under his wing when they were partners. There is a realistic sincerity in Ms. Armstrong’s performance that endeared her to me especially when she asks Walter if he will walk her down the aisle in her marriage to Dave Caro. As Claire’s fiancé, Dave, Sergio Di Zio is that likable, down to earth guy who is truly appreciative of his relationship with his fiancée, and his growing respect for Walter. Yet, without spoiling any future plot twists, both Claire and Dave bring some hard-hitting news that changes their relationship with Walter. Ms. Armstrong and Mr. Di Zio dive headfirst into their performances with guttural conviction that I even wanted to go right up to Walter, as he lay in bed, and say to him, “Take the offer these two are giving you.”
FINAL COMMENTS: Coal Mine has a winner here. It’s riveting, revealing, and reeling with emotional understatements. ‘Between Riverside and Crazy’ is going to sell out quickly so rush to get a ticket.
BETWEEN RIVERSIDE AND CRAZY
Runs to December 22 at The Coal Mine Theatre, 1454 Danforth Avenue, Toronto. For tickets call 1-800-838-3006 or visit www.coalminetheatre.com for further information.
Production runs two hours approximately with one fifteen-minute intermission.
Photo of Claire Armstrong and Alexander Thomas/ Dahlia Katz.
Writer: Stephen Adly Guirgis; Director: Kelli Fox; Set Designer: Anna Treusch; Costume Designer: Michelle Bohn; Lighting Designer: Steve Lucas; Sound Design: Deanna H. Choi; Props: Kayla Chaterji; Dialect Coach: Rae Ellen Bodie; Production Manager: Laura Phillips; Intimacy Coach: Siobhan Richardson; Stage Manager: Elyse Quesnel;
Performers: Claire Armstrong, Zarrin Darnell-Martin, Sergio Di Zio, Allegra Fulton, Jai Jai Jones, Nabil Rajo, Alexander Thomas;