“It’s like rehearsals are on fire.” Say “Joy” to anyone at all involved with theatre in DC — as practitioner or as audience — and that person will know immediately that you are talking about Joy Zinoman.
Mosaic Theater of DC’s 2017-2018 season will consist of eight plays, including two world premieres, the company’s first musical, the company’s second musical, a special three-night presentation of a ninth play, and a national tour of three additional plays. Not bad for a company’s third season.
“Brilliant” is barely adequate to describe Hooded, or Being Black for Dummies, which blurs the line between comedy and drama with the infinite precision, speed, and flash of a polished penny spinning on end.
Mosaic Theatre’s current production, Charm by Phillip Dawkins, is inspired by the true story of Chicago trans icon Miss Gloria Allen, who teaches etiquette classes to youth at the Center on Halsted, an LGBT community center on Chicago’s northside.
Mosaic Theater Company sharpens its reputation for cutting edge theatre yet again with Charm by Philip Dawkins, now getting national attention and acclaim for spotlighting gender fluidity issues and showcasing transgender and transsexual performers.
At the top of Milk Like Sugar, three young teens enter, a blast of energy and music, wild rhythms jerking through their bodies in fits, almost uncontrollably, laughing, jiving each other, finishing each other’s barely completed sentences mid-stream.
Louis Armstrong, arguably the first jazz superstar, achieved world-wide fame as a trumpet player, composer, singer, occasional actor. Satchmo at the Waldorf by Terry Teachout (best known as The Wall Street Journal’s theatre critic) presents the Louis Armstrong the public didn’t know, and Mosaic Theater Company of DC and Craig Wallace provide a fascinating, behind-the-scenes look […]
The welcome arrival of the Mosaic Theater Company of DC on the local theatre scene is punctuated by When January Feels Like Summer. The heartwarming and frequently funny Cori Thomas play about the interlocking relationships of five commonplace Harlem residents provides a winning exclamation point to Mosaic’s memorable first season.
Mosaic Theater, buoyed by a million-dollar grant from the Logan Foundation, will launch an eight-play second season which will “unearth and investigate issues of race, social inequity, and the process of seeking truth and reconciliation that is at the heart of Mosaic’s focus,” Founding Artistic Director Ari Roth announced.
The last time Playwright Motti Lerner, Director Sinai Peter, and Producing Artistic Director Ari Roth got together for a production, they created the controversial play The Admission, which sparked protests, counter-protests, a 2015 Helen Hayes Award nomination for Best New Play and eventually a separation between Roth and his former company, Theater J.