Seattle Weekly - The Moon Is a Dead World:
I’m not entirely sure why Mike Daisey chose the Cold War as the background for his new play—possibly he wanted to avoid the political implications that necessarily accompany stories about more contemporary wars. Instead his focus is unrequited love, which happens to manifest itself in a satirized American listening post. Gregor (Zachariah Robinson), a nearly omnipotent—albeit dead—Soviet soldier, appears before two American officers (Jack Hamblin and Clayton Weller), who take him prisoner. As a general rule, though, don’t take omnipotent beings prisoner. Gregor breaks free with ease and turns the Americans into mental captives. He also covers the post in a warm snow because he feels like it. It doesn’t seem so unreasonable to lash out like that when the woman you love (Pamala Mijatov) rejects you in favor of another man, then dies, then leaves you to die alone only to discover post-mortem that you have superpowers. What do you do, Daisey asks, if you can do anything in the world except make someone love you? The question has been asked before, but certainly not under these particular circumstances. The Moon Is a Dead World is both conceptually and structurally unique, and director Christopher Comte has put together an entertaining production worthy of the script.