Between Riverside and Crazy, SpeakEasy Stage Company, Roberts Theatre, Calderwood Pavilion, Boston Center for the Arts, through October 13. 617-933-8600 or bostontheatrescene.com

The best stage sets often serve as a guide to both characters and messages in a play. Eric D. Diaz's remarkably vivid scenic design for "Between Riverside and Crazy"—in its New England premiere by SpeakEasy Stage Company—at the Calderwood Pavilion is a brilliant case in point. Stephen Adly Guirgis' well-appointed 2015 Pulitzer Prize winner fully embraces the very different people who live in or visit its run-down but impressively spacious Manhattan setting, and Diaz' strong effort helps to establish the play's heartfelt endorsement of extended family and human connection.

As the play's intriguing title suggests, that connection may sometimes seem crazy. After all, retired NYPD cop Walter Washington—better known as Pops—has a knack for putting off family and friends alike with his cantankerous personality, repeated reliance on curse words and signature stubbornness. At the same time, though, he possesses a heart and a generosity of spirit big enough to touch and mentor the diversity of people who inhabit his world. Tellingly, he states without judgment that there are men who need men just as there are women who need them.

Guirgis quickly and skillfully depicts that diversity. Bronx native Oswaldo, an ex-con determined to remain sober, calls Pops 'Dad' and assists him. Junior, Walter's actual son, is a student at City College but seems to be running a questionable business with boxes of items from the likes of Lowe's. The heated arguments between father and son are classic, but so is their deep if sometimes unseen love. Junior's girlfriend Lulu also affectionately refers to Walter as Dad and speaks of being pregnant. Washington's universe unsurprisingly stretches to include his 1990's colleague Detective Audrey O'Connor—who also sees him as a kind of father figure—and her fiancé Lieutenant Dave Caro.

All is not clear sailing, though, as Audrey and Dave remind Pops that his violation of lease jeopardizes his good fortune paying $1500 for rent. In a standout first act verbal volley, Walter adamantly pursues a lingering eight-year suit centered on being shot by a fellow white policeman who he claims uttered the N-word at the time. If Walter maintains that everything is about being black, Dave coldly warns Walter, "Don't be the old black man in the new white world." Audrey and Dave eventually offer Walter a deal that reflects the mayor's eagerness to close the case in an election season. Will Washington compromise? Will he somehow get the upper hand? Also, how does alluring Church Lady figure in Walter's fortunes? Guirgis makes his characters—especially Washington—so believable and human that theatergoers will find the resolution of Walter and his fellow characters' challenges fully absorbing.

Under Tiffany Nichole Greene's seamless direction, a first-rate SpeakEasy Stage cast captures the play's fascinating characters with all of their strengths and weaknesses. Tyrees Allen is a revelation in his company debut. His Walter has all of Pops' tenacity and integrity as well as his gusto for life. Guirgis has created a dynamo with the caliber of a stage icon, one Allen richly inhabits. Celeste Oliva proves scene-stealing good as the enigmatic yet charming Church Woman.

Octavia Chavez Richmond finds Lulu's own unique charm as well as her emotional conflict. Stewart Evan Smith catches Junior's irresponsible moments and his caring for both Lulu and Pops. Alejandro Simoes does full justice to the tricky role of Oswaldo—especially his pivotal first act outburst and volatility. Maureen Keiller nicely balances Audrey's affection for Walter and her attention to her work as a detective. Lewis Wheeler is properly tough and no-nonsense as Dave.

Guirgis tantalizingly speculates about a world where right would be enough. At a time where racism and inequality of opportunity persist, such a utopia seems a distant ideal. In its absence, a play as sharply insightful as "Between Riverside and Crazy" offers an inviting two-hour residence.