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Press

I have received some nice press from various publications, including The New York Times, The Village Voice, Variety, Time Out, Kirkus, Booklist, School Library Journal, and many others. Here is a representative sample:

"Marriage is a silly aural pleasure...What makes the insight fresh in Mr. Einhorn's play, is the absurdist language in which it's told. And what makes it painful is the understanding that in every marriage, someone is the genius, someone not."
The New York Times, for The Marriage of Alice B. Toklas by Gertrude Stein (play, writer and director)

"“[The Iron Heel] serves up food for thought with an appealing heart-on-sleeve warmth. You may well find yourself humming some of those tunes on the way ot.."
The New York Times, for The Iron Heel (play,adaptor and director)

"Almost unbearably funny."
The New York Times, for Fairy Tales of the Absurd (play, co-writer and director)

"Not only tackling fractions, but simplifying them, this fills a need and thoroughly entertains...Einhorn finds ways to humorously add fractions to his tale...the pages simply ooze with the aura of a great mystery...No question—a large fraction of parents and teachers will be reaching for this."
Kirkus (starred review), for Fractions in Disguise (book)

"True in its narrative style and its black-and-white artwork (by Eric Shanower) to the spirit of the beloved Oz books...both the action and the humor quotient are high, and Oz fans will read to the expected happy ending."
Booklist, for Paradox in Oz (book)

“Challenging, thought-provoking...[Dick]'s indictments of blind religious faith, tabloid TV, celebrity worship and a society gone numb seem depressingly timely four decades later.”
Time Out New York, for Do Androids Dream of Electric Sheep?
(adaptor and director)

REVOLUTIONARY MIND (2006)
Seed Magazine, for the NEUROfest (curator)

"Don’t ever take a stock tip from a critic, but this one looks like a buy"
New York Magazine, for Money Lab (creator/writer)

"Nothing short of astonishing...Einhorn has adapted this first book of Auster’s New York trilogy with intriguing staging and theatricality. On the surface, the play, like the novel, tweaks the style of the noir-detective-mystery whodunit. But Einhorn then plunges it into a typhoon of surrealism and moves the focus from character to character. "
blogcritics, for City of Glass (adaptor and director)

“Edward Einhorn’s brisk direction crackles with life and energy”
The New York Times , for Pangs of the Messiah (director)

"This picture book for older children introduces the idea of probability using a funny, fantastical premise."
Booklist, for A Very Improbable Story (book)

“The highly skilled actors commit passionately...Utterly riveting show. There is an eloquence forcing its way through the shiny surface of quick witticisms and wordy observations that brings meaning and gravitas to the play...Underlying the farcical, high-paced, cartoon-esque moments lie truth and depth, poignantly and subtly lingering as smoke. Thoroughly enjoyable from start to finish, this love story that was, the marriage that should have been, is the play you must see." 
Stage Buddy, for The Marriage of Alice B. Toklas by Gertrude Stein (writer and director)

"A striking theater piece, optimally staged"
Theatermania, for The Lathe of Heaven (adaptor and director)

"This amusing book could help lessen the all-too-common fear of fractions."
Booklist, for Fraction in Disguise (book)

"This slim volume introduces a math concept with a flourish of humor and embarrassing, talkative headgear. Full-page oil illustrations accentuate both the actions and expressions of Ethan's improbable morning as Odds the Cat dominates on his head or in shadow. A marvelous teaching tool and an entertaining story."
School Library Journal, for A Very Improbable Story (book)

“An act of fan love but also dramatically shrewd, since a downtown play is a better forum than a Hollywood blockbuster for a grim meditation on religion, consumerism and what it means to be human"
The New York Times, for Do Androids Dream of Electric Sheep?
(adaptor and director)

"An inspired aburdist comedy...side effects may include hilarity, we are told (It's definitely contagious)."
The Village Voice, for Linguish (play, writer and director)

"One of the most startlingly intense shows I've seen."
Time Out New York, for The God Projekt (co-writer and co-director)

"The production manages to give the story a deeper emotional impact thanks to the terrific cast...But most of all, the production brings alive the hope and horror of the revolutionaries who fought in the early 20th century in a way that feels relevant and contemporary to a modern audience. "
Socialist Workers, for The Iron Heel (play, adaptor and director)

“Philip K. Dick fans will cheer…adapter Edward Einhorn's high-fidelity transliteration of Dick's wryly ironic, psychedelic, 1968 hall of mirrors”
LA Weekly, for Do Androids Dream of Electric Sheep?
(adaptor and director)

"With spirited direction by Edward Einhorn, the homespun, frenetic action unfolds...with slapstick and broad, vaudevillian humor."
Associated Press, for The Last Cyclist (director)

"Be prepared to be swept away, and suddenly confronted with complexities and philosophies that strike a nerve…The play leaves you breathless and spellbound…Fully realized by a brilliant cast, use of lighting, sound, and costuming…Theatre that needs to be seen, and a dance that needs to be experienced."
Huffington Post, for The Marriage of Alice B. Toklas by Gertrude Stein (play, writer and director)

"Nothing short of dazzling...It takes chutzpah and no small amount of self-confidence to pen a historical play such as this. Mr. Einhorn surely grasps the magnitude of the undertaking and turns the effort into an unmitigated success."
OffOffOnline, for Rudolf II (play)

"Gustavson's oil paintings highlight the improbability of Ethan's situation. His attempts to remove Odds, and failing that, to conceal him, will have readers in stitches. Each of Ethan and Odds facial expressions speaks volumes... this is solid math that also teaches children about its applicability in the wider world."
Kirkus, for A Very Improbable Story (book)

"Exquisitely ingenious...truly enchanting."
The New York Times, for Unauthorized Magic in Oz (play, writer and director)

"Even devotees of the book—which relates how a substance called ice nine destroys the planet—may be seduced...And [Timothy McCown] Reynolds' low-key perf is excellent bait. His nonchalance says he's unconcerned if we listen. He's just telling the truth, with or without our approval, and that makes him fascinating."
Variety, for Cat's Cradle (play, adaptor and director)

"The scenes are played for irony, contradiction and some bawdy humor, which lends sympathy and humanism to the political subject and the paranoid atmosphere that defined the era...Like Bertolt Brecht's poetry, this work succeeds by framing the minuscule, everyday aspects of life in the context of oppression rather than insisting on sentimental patriotism or heroics...a tasteful and thought-provoking reminder of the rapid change brought to Central Europe in those heady and confusing days."
Musical America
, for The Velvet Oratorio (librettist)

PERSON OF THE YEAR (2006)
nytheatre.com, for the NEUROfest and the Havel Festival (curator)

"The story is engaging and the Jewish lore is appropriately and authentically woven through the text."
Kirkus, for The Golem, Methuselah, and Shylock (book - plays)

"These lovingly created stories work magic in transforming seeming limitations into privileges."
Backstage, for Brains & Puppets (play, writer)

"Retaining the bawdy humor of the original, Lysistrata is undeniably a laugh-out-loud comedy of war, sex, and wicked fun. It is an excellent contribution to theater shelves."
Midwest Book Review, for Lysistrata (book - play)

"The combination of Einhorn’s wit and Shanower’s affectionate envisionings make this Oz adventure a near-tangible reality."
Asimov's Science Fiction, for The Living House of Oz (book)

"A brilliant theaterical event...The true accolades go to Edward Einhorn: his adaptation is really quite smart and very worthwhile, not one bit of what he includes is gratuitous or unnecessary."
Theater is Easy, for Do Androids Dream of Electric Sheep?
(adaptor and director)

"The new musical stage adaptation hews closely to the Vonnegut text and is a faithful, inventive, intelligent rendering of Vonnegut's classic...Standout performances include [Timothy McCown Reynolds] as John, a rationalist pulled into an increasingly irrational world, and the engaging and vocally accomplished {Horace V.] Rogers as the charismatic Bokonon."
Tribeca Trib, for Cat's Cradle (play, adaptor and director)

"Entertaining, engrossing, and amusing."
Backstage, for Rhinoceros (play, director)

"A deliciously trashy Eastern European version of The Tudors."
Time Out New York, for Rudolf II (play)

"The writing is crisp and moves the episodic story along effortlessly. This is a handsome book."
School Library Journal, for Paradox in Oz (book)

"Einhorn has packed many other notions into this often whimsical and just as often serious play...a raw, intimate, and ultimately quite moving portrait of how a playwright shapes and molds his characters to come up with something original and his own."
nytheatre.com, for Drs. Jane and Alexander (play, writer and director)

"The visuals succeed all around...The overarching vision does well by Euripides’s great text. And that’s saying a lot. Untitled Theater has served up a satisfying Greek drama with an authentic feel. "
blogcritics, for Iphigenia in Aulis (adaptor and director)

"One of the more unexpectedly playful and rewarding offerings of New York's summer season."
Backstage, for The Pig (translator)

“Creating a mysterious, melancholy and futuristic world that immediately ensconces and transports you, Edward Einhorn has brilliantly adapted novelist Philip K. Dick’s1968 existential science-noir tale for the stage.”
ArtsBeat LA, for Do Androids Dream of Electric Sheep?
(adaptor and director)

"The Marriage of Alice B. Toklas by Gertrude Stein is the sort of thing that one chortles through from paragraph to paragraph while unraveling additional meanings until the final period lands...Though all is nearly lost, one thing remains: the love that set this whole shebang into motion and the promise that geniuses - and newly converted Christians - will meet again in heaven. You'll have to see the play to unravel that tease. Do so; it is absolutely worth it.”
Broadway World, for The Marriage of Alice B. Toklas by Gertrude Stein (play, writer and director)