No doubt about it: The Seafarer was a great production. It was a fantastic script paired with an almost perfect set and interpreted by maybe the best cast Mosaic Theatre has assembled since Glengarry Glen Ross in 2007. But it was a delicate job. Really, The Seafarer is nothing but the Christmas Eve banter of a bunch of severely impaired drunkards, and it worked only because the rhythms of the drunkards' banter were so natural and fun. Now, "nature" and "fun" are not automatic bedfellows — plenty of nature is boring as shit. And though it is impossible to know what innovations came from The Seafarer's actors versus its director, one must assume that Richard Jay Simon was responsible for the extreme coordination of his assembled thespians. Their conversation flowed as smoothly and easily as the whiskey they imbibed, and McPherson's panoply of emotions whizzed across their faces and through their voices in balletic synchrony. There was true collaboration happening, at dazzling speeds. It was as good as South Florida theater has ever been.