Just a 20-minute drive from the White House, Nancy Reagan is back in Washington. Premiering at Atlas Performing Arts Center courtesy of Mosaic Theater Company and showing through April 21, Nancy follows two women who could not be more different—the former first lady (Lynn Hawley) in her position of power and a Navajo single mother, Esmeralda (‘Anaseini Katoa), an activist fighting for her community. Written by Rhiana Yazzie after it was discovered that Reagan had a familial connection to Pocahontas, Nancy imagines what would have happened if Esmeralda and Nancy momentarily crossed paths and explores the responsibilities humans have to protect nature and each other.

Upon entering the small black box theater, sound designer Navi immediately transports the audience back to the ’80s with nostalgic radio ads and music. The set, beautifully designed by Misha Kachman, instantly draws attention to an enormous pink illustration of Nancy Reagan that dominates most of the stage and backdrop. However, the first lady’s gigantic eyes peer at the recreation of a Navajo sand painting that hangs above the set, hinting at the real focus of the show, despite its name.

Nancy begins with the narrative of the titular character, who is busy managing her husband’s presidential career based on the stars’ astrological alignment. This proceeds to be a comedic punch line for much of the show. Meanwhile, Esmeralda is advocating for the Navajo people—urging U.S. lawmakers to address the mining-related uranium contamination affecting Native reservations dating back to the early 1950s. With her daughter, Jacqueline (Tenley Stitzer), by her side, Esmeralda fights to make her voice heard in rooms where Indigenous women would often be silenced and ignored. 

While searching for a platform to launch her proposal to address the uranium contamination, Esmeralda meets Whaley (Derek Garza), a fellow Native activist, and his business partner Ed (Michael Kevin Darnall), a non-Native person invested in the cause. The trio teams up to bring attention to the contamination issue, but conflict emerges through conversations about the intentions of White people who claim to be part Native American—like Nancy midway through her storyline when her relation to Pocahontas is discovered by the media. 

Esmeralda argues that identity is passed down through culture, while Whaley notes that knowing one’s culture is a privilege—highlighting a complex aspect of identity discourse. The two attempt to unravel the romanticization of Native American culture and raise a complicated question: If someone is White passing, are they entitled to reap the benefits of being perceived as “diverse”? 

Esmeralda responds: “There isn’t one day where I haven’t had to be Indian.” 

Esmeralda’s advocacy efforts also raise an important conversation on privilege as Nancy confronts the lived experiences of Native Americans versus the narratives perpetuated by White colonizers. Yazzie argues that the only way to counter these narratives is to let traditionally unheard voices create their own canon. Nancy and Yazzie succeed in doing this when Esmeralda questions the dynamics of White saviorism.

Back at 1600 Pennsylvania Avenue NW, Nancy also struggles with who gets to tell her story. The realities of her situation are revealed through her relationship with the media. Visually, the set manifests this idea with retro televisions framing the gigantic rendering of Nancy’s face, symbolizing how the public perceives political figures and the media’s role in perpetuating such narratives. Hailey LaRoe’s expert projections further this interpretation as news headlines appear on the screens, laying the groundwork for Nancy’s legacy, particularly concerning her astrology scandal and the attacks she faced after her breast cancer diagnosis and mastectomy.

While Yazzie’s dual-perspective narrative addresses complex themes, Nancy has some room for improvement. The two storylines feel disjoined until the end—a tricky aspect of having dual perspectives. At times, the pacing is slow, especially during the namesake’s narrative, where some scenes feel as if ’80s references have been collaged together and called a storyline, prioritizing comedic timing over substance. 

Notably, many of the characters stay relatively stagnant throughout the play—keeping the audience from being fully invested in their arcs. Esmeralda, for instance, is consistently sure of her identity and staunch in her beliefs, but she lacks the complexity of her daughter, who grows as a character after confronting her own cultural crisis and fears.

Still, the play, directed by Ken–Matt Martin, encourages political activism, while also emphasizing a harsh truth: People in politics can choose what they fight for, and inaction is a choice. Nancy calls for us to hold those who represent us accountable with the knowledge that action speaks louder than words.

Mosaic Theater’s world premiere production of Nancy, written by Rhiana Yazzie and directed by Ken-Matt Martin, runs through April 21 at Atlas Performing Arts Center. mosaictheater.org. $42–$70.