Atlas Performing Arts Center Archives

Dodi & Diana is a Role-Switching, Astrologist-Fueled Two-Hander from Mosaic Theater

Dodi & Diana

Mosaic Theater

Jordan Wright

September 8, 2025

Special to The Zebra

Dina Soltan (Samira) and Jake Loewenthal (Jason) in Mosaic Theater’s production of Dodi & Diana. (Photo/Chris Banks)

This two-hander imagines a couple whose lives are dictated by an unseen astrologist called Vincent. The disembodied Vincent has ordered them to follow a set of rules while they luxuriate in a five-star hotel in Paris. To wit, they cannot leave their bedroom for 72 hours, they must be honest with each other, and they cannot use electronic devices – phone or laptop – or watch TV. Vincent has told them they are the astrological doubles of Dodi Fayed and Princess Diana. It has been 25 years since the famous car crash that resulted in that couple’s deaths.

Jason (Jake Loewenthal) is a high-flying financial wiz. He’s White and that will matter to the story. He is co-dependent on his wife and an emotional wreck. Samira (Dina Soltan) is a successful TV actress whose star is rising. She’s Egyptian and Muslim. That too, will matter. The couple have been married for a decade.

Expect a great deal of hot and heavy romantic antics, dining on lavish room service, coupling on the satin-dressed bed and rage arguing á la Edward Albee’s “Who’s Afraid of Virginia Woolf”. Do they trust each other? Not for a minute. Samira checks her phone and makes secret calls to her agent as soon as Jason heads to the bathroom. Jason catches her and tries to hide her cell phone. “Have you stopped loving me?” he questions her. Telling the truth has consequences.

Dina Soltan (Samira) and Jake Loewenthal (Jason). (Photos/Chris Banks)

Samira suggests a role-playing exercise which goes south when Jason struggles to remember their first date. And there are role-switching exercises in which Samira, the actress, comes out on top. No surprise there. You may find yourself wondering how this couple made it through 10 years of marriage, especially as we learn Jason desperately wants children to cement his legacy and Samira stuns him by admitting she won’t sacrifice her career to have children. This appears to be the first time they have discussed this. Hmmm. Last time I checked there are actresses with children. And we all know there is sexism, racism and homophobia in this world, but it’s hardly a thing in show biz, yet Samira claims she can’t get the roles she wants because she is Arab. Last time I checked there were quite a few well-known Arab actresses and actors in film and TV.

After a psychedelic drug- and booze-fueled evening of romance, bickering and nitpicking, the couple assume the personae of Dodi and Diana in a switcheroo with Jason as the entitled Arab billionaire and Samira as Princess Diana complete with an upper-crust British accent – a surprise reveal to explain the play’s title that comes near the end of this one-act play. I won’t spill the ending, or the story of Scotty, referred to by his wife as Jason’s lapse in their marriage. I will, however, mention the gorgeous set design, the perfectly curated props, and the intricate lighting changes with each shift in the action. The actors give it their all, but given this convoluted story, it all falls flat. After a while the lies and accusations, challenges, insults and revelations begin to seem like a telenovela.

Dina Soltan (Samira) and Jake Loewenthal (Jason). (Photo/Chris Banks)

Playwright Kareem Fahmy; Directed by Reginald L. Douglas; Scenic Design by Shartoya R. Jn. Baptiste; Lighting Design by Sage Green; Costume Design by Jeannette Christensen; Sound Design by navi; Props Design by Luke Hartwood; Resident Intimacy and Violence Director, Sierra Young; Production Stage Manager, Jenna Keefer.

But stay tuned. I’m very much looking forward to the upcoming A Case for the Existence of God opening in November, and Young John Lewis, a musical to be presented by Mosaic in Spring 2026.

Through October 5^th at Mosaic Theatre at the Atlas Performing Arts Center, 1333 H Street, NE, Washington, DC 20002. For tickets and information call the box office at 202.399.7993 ext.501 or visit www.MosaicTheater.org.

An Iliad ~ at the Atlas Performing Arts Center

Jordan Wright
June 5, 2018

Conor Bagley, director of An Iliad. Photo courtesy of Conor Bagley.

Homer’s ancient Greek epic poem The Iliad springs to life in a dramatic interpretation written by Lisa Peterson and Denis O’Hare. DC native and twice Tony-nominated director, Conor Bagley, envisions an unadorned set and simple props to present this epic odyssey of the Trojan War. The fresh concept introduces modern day parallels to the ancient war between the Greeks and the Trojans to illustrate the futility of all wars. It’s an electrifying examination of man’s justification and theory for waging war.

Delving into the thoughts and emotions of both warriors and Gods, the drama shows us how groupthink provides countries with the impetus for every battle. I kept thinking about Noam Chomsky who reminds us that there is always a first strike on which hangs all retribution thereafter. Endless aggression and limitless blame. Thus, the concepts of bravery, honor and glory, and not being dissed by other countries, become the fulcrum for each and every war.

Iason Togias, who plays the Poet in An Iliad. Photo courtesy of Iason Togias.

For those of us who slogged through Homer and its myriad of mythological Gods and creatures, An Iliad is a game changer. Iason Togias, who plays a myriad of roles as Poet in this condensed version – including, but not limited to Achilles, Agamemnon, Patroclus, King Priam and Hector – gives a riveting and highly energized performance from beginning to end. An especially salient moment is when he recites, at breakneck speed, every major war that has occurred around the world since the Trojan War. It’s the point in the play where you sigh deeply and conclude that all men are made for war.

Togias vividly recounts the enormity of the nine-year war – 10,000 Greek ships anchored off shore with each ship carrying 120 men – factoring in plagues and disease as vengefully commanded by the Gods. Is not religion still used to justify the brutal acts of war? In many countries it is the primary reason to do battle.

The play is translated from The Iliad by Robert Fogles and singlehandedly enacted by Togias who gives a vivid and memorable performance. I only wish I could have had Togias as my professor for just about any topic I ever studied, including the mystery and history of the Greeks.

With Matt Chilton as Muse and Composer. Produced by Susannah Clark and Annie Ottali. Production Design by Daniel Prosky.

Through June 9^th at the Atlas Center for the Performing Arts – 1333 H Street, NE, Washington, DC 20002. For tickets info on post show discussions, special rates and discounts visit Mosaic Theater or call the box office at 202.399.7993 ext. 2. Valet parking at 1360 H Street, NE.