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Crazy Time Recent – The world of “Between Riverside and Crazy,” Stephen Adly Guirgis’ play that premiered on Broadway last month, is confined to a rent-controlled Upper West Side apartment building, where the dark comedy spills over kitchen table bickering. and shared rooftop drive-bys. .

It’s the kind of New York City apartment that’s stayed in the family despite rising rents and an eviction-seeking landlord—the kind Guirgis herself inherited from her father, an Egyptian immigrant who ran a restaurant in Grand Central and didn’t spend much. had. otherwise. to pass on when he died.

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Like the one in the play, the real Riverside Drive apartment is a “grand old railroad apartment with chandeliers and river views,” as Guirgis’s introduction to the play reads, with “beautiful fixtures, family memorabilia, and period furnishings vying for survive with dust, stains, trash, leaks and unattended clutter.”

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About a decade ago, Guirgis began gathering actors there for readings of his play in development, about a black New York City police officer who was shot by a white cop in his free time in a bar, and has been seeking justice ever since.

A fixture in the living room was Stephen McKinley Henderson, a friend and frequent visitor whom Guirgis had envisioned as the lead role from the start. A parade of famous actors attended readings on Riverside Drive in the ’80s, including John Leguizamo, Ellen Burstyn and Chris Rock, whose Broadway debut was in a play by Guirgis.

“The first time I read it, it was 15 pages,” said Henderson. “And as it grew, it grew on me.”

Colón-Zayas and playwright Stephen Adly Guirgis at his apartment on Riverside Drive in 2014, the year the play premiered Off Broadway. Credit… Monique Carboni

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The play that resulted from these readings became a patchwork of autobiography and fiction, organized around an idea based on a local news report from the 1990s. “Between Riverside and Crazy,” directed by Austin Pendleton, won the Pulitzer Prize for Drama after premiering at the Atlantic Theater Company in 2014 and ran Off Broadway for the second time in 2015. (In that production, Ron Cephas Jones, a friend van Guirgis who once lived in the four-bedroom Riverside Drive apartment played the protagonist’s son, Junior.)

Eight years after its premiere, the play has landed on Broadway – the Second Stage production at the Helen Hayes Theater still stars Henderson, and Common now plays Junior – in a radically changed landscape.

Since the actors first gathered in Guirgis’ apartment, police shootings of black men have sparked waves of protest. The 2020 murder of George Floyd by a Minneapolis officer sparked the movement, with numerous industries, including the theater, facing calls for large-scale racial justice efforts. In addition, rents in New York City have skyrocketed, driving lower-income residents out of once-affordable neighborhoods, and evictions have picked up again after a pandemic lull.

The actors, who have lived in their characters for years, say they approach the work with a new depth and personal understanding, but the dialogue remains almost entirely the same. A short line was added, of Junior, a parole man struggling to get the kind of love from his father that he received from his recently deceased mother.

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“Pops, it’s 2014,” says Junior, timing the audience. Guirgis said he asked for the line to be added to prevent references to Donald J. Trump and Rudy Giuliani from sounding stale.

Actress Liza Colón-Zayas, who has been involved since early script readings as a character called the Lady of the Church, said people who have seen this production and before (including her mother) are convinced that the play has changed significantly . the years.

In the play, a widower fights to keep his house and win a lengthy lawsuit against the New York Police Department, while messy relationships and sloppier politics develop among his roommates and guests. Credit…Sara Krulwich/The New York Times

While the writing style has remained largely unchanged, the actors approach the work with a new depth and a new personal understanding in light of the cultural conversation surrounding police shootings since the play’s premiere. Credit…Sara Krulwich/The New York Times

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“The script hasn’t changed,” said Colón-Zayas. “The pain, the years and what we’ve survived have changed this play in ways I can’t quite put into words.”

The germ of the story came in 1994, when a white New York police officer on duty opened fire on a black undercover officer on a Manhattan subway platform, critically wounding him. The white officer, Peter Del-Debbio, said he was reacting to a fired shotgun and fired when he saw the plainclothes transit officer, Desmond Robinson, running with a gun.

Part of the white officer’s defense was that the black officer was not wearing his badge or the color that would identify him as a plainclothes officer, so Guirgis remembered the story as a “color of the day” case. Del-Debbio was convicted of second-degree assault and was sentenced to probation and community service.

Years later, the playwright said, he was visiting Henderson when the veteran actor, who had health problems, noticed his career would slow down.

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“I just lied and thought, ‘Oh, I started writing two plays for you: one where you’re the lead character and one where you’re the supporting character,'” Guirgis said. “When I went home, I thought, OK , now I have to think of something.”

When he began giving script readings, Colón-Zayas, who met Guirgis when they were students at the State University of New York at Albany, had frequented the Riverside Drive apartment for decades. When Guirgis’ mother died in 2006, he recalled his family returning to the apartment to find Colón-Zayas and other friends cleaning it.

After his mother’s death, Guirgis moved into the apartment and his father got a dog, Papi, for extra company. The apartment became a haven for friends in need, Guirgis said, including a drug addict who began to see Guirgis’ father as if he were his own.

“Anyone who came into my apartment with me or my sister was automatically given a blank check for love and acceptance,” he said.

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Common, right, is making his Broadway debut as Junior. He said part of what drew him to the role was the message of redemption. Credit… Timothy O’Connell for The New York Times

The unconventional household is depicted intimately in the play. Ex-cop Walter Washington welcomes his son’s sweet but unwitting girlfriend, Lulu (Rosal Colón), and his friend Oswaldo (Victor Almanzar), who has spent time in prison and is trying to stay sober.

Just as Guirgis did for his father, Junior brings a dog into the house to keep him company; Walter calls the dog a chosen curse word instead of his name, but the emotional attachment is clearly under the mockery. (Papi, the fox-like bitch Guirgis adopted for her father, has recently passed away, and the cast is mourning the loss of an original participant in early script readings.)

Walter, a stubborn and ailing alcoholic, resents his housemates and reluctantly expresses his love, but the crux of the play is his tendency to welcome them into his home regardless of their faults.

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“As with all his characters, it’s a lesson in, ‘Who are we to judge, anyway?'” Colón said.

Common, who is making his Broadway debut as Junior and has been an advocate within the prison system, said part of what drew him to the role was the message of redemption.

Entering the cast as the only newcomer in a tight-knit group of actors, he received a welcome similar to the kind Walter usually gives: level-headed but unconditional.

“One day Liza came to me,” he recalls, referring to Colón-Zayas, “and she said, ‘You’re sgu’, du sku’. You can come with us.'”

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In the play, as Walter struggles to keep his home and win his long-running lawsuit against the New York Police Department, a series of characters pass by the apartment – ostensibly there to help a lonely widower. Two police colleagues gather for dinner and a dose of nostalgia; the church woman comes to talk and give communion.

But in “Riverside”, the houseguests’ intentions are never clear. The relationship gets messy and the underlying politics of the story even messier.

Henderson’s character is portrayed as both noble and sometimes deceitful. He harbors both a justified grudge against the NYPD and fierce pride in it. His children, biological and not, both try to change their lives for the better and fall back into old habits.

Guirgis is well aware that the persistent character flaws tend to confuse some audiences, who would have preferred their worldview more emphatically affirmed. But he’s interested in telling a more complicated story, saying he believes today’s audiences will see it the same way it did in 2014.

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“If the characters are all wearing white hats and black hats, then we’re watching a cartoon and there’s nothing to learn from it,” he said. “I try to make it messy, but I try to lead

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