Among all the fraught issues which torment the tortured search for peace in the Middle East, none spark a greater intransigence on the part of the State of Israel than the Right of Return — which is to say, the right of Palestinians chased from their homes in the revolution which established Israel in 1948 […]
You might be tempted to dismiss Ulysses on Bottles as a niche-appeal “issue play,” but this first opening for Mosaic Theater since receiving the Outstanding Emerging Theater Company Award at last week’s Helen Hayes Awards shows why you would be wrong and why Mosaic will be an all-around heavyweight on the DC theatre scene for years to come.
Mosaic Theater Company is only in its second year of producing but, planting itself firmly on Washington’s H Street corridor in northeast Washington, the team of Ari Roth and Serge Seiden has already made a name for the production company by putting on provocative dramatic writing that raises important social and political dialogue.
This early Athol Fugard play lacks the laser-like focus of his best work, but it packs a powerful punch and stubbornly refuses to do the expected, and at Mosaic Theater, they’re playing the hell out of it.
“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.