Here was a set that said a lot by saying very little. Mosaic is best-known for its sprawling set designs, like the ones for Dead Man's Cell Phone and Why Torture Is Wrong, and the People Who Love Them. These are tours de force of horizontal continuity that stretch across multiple locations. In its compact confinement, Collected Stories couldn't be more opposite. The majority of the work takes place in a cramped Greenwich Village apartment beginning in the 1980s. Douglas Grinn evokes this setting with loving accuracy, down to such quotidian details as the type of magazines that would rest atop the coffee table and the squeaky, perpetually jammed windows, to which anyone who has ever lived in the Village — which no doubt includes many South Florida theatergoers — can relate. You could practically reach out and feel the dust clinging to the letter-bound tomes stuffing the living room's bookshelves. All of this combined to exude a romantic feeling, appropriate for a play set in what was, for writers both aspiring and established, very much a romantic place at a romantic time.