These balancing acts — between rationalism and faith, cynicism and joy — shape the play and its central character. … By writing a one-man play, in which a single character conveys his mounting disorientation directly to the audience, she has eliminated the so-called Fourth Wall, the tacit understanding that the audience and the actors inhabit different worlds, making their experiences comfortably separate. As Gold speaks to the audience, its members become part of his experience, and the intimacy of an individual voice renders Gold’s distress particularly powerful. 

-Jessica Reaves, New York Times