“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. (CRITICS PICK) ”
— The New York Times : The Marriage of Alice B. Toklas by Gertrude Stein
“One of the most startlingly intense shows I’ve seen. (FOUR STARS)”
— Time Out New York: The God Projekt
“With stylistic brio Einhorn does what he enjoys doing most. He employs absurdist, comedic mayhem to examine outrageous social and cultural behavior.”
— Blogcritics: The Resistible Rise of JR Brinkley
“An inspired aburdist comedy...side effects may include hilarity, we are told (It’s definitely contagious).”
— The Village Voice: Linguish
“The play masterfully recasts the playwright [Shakespeare] as the villain of The Merchant of Venice… By looking the text in the eye and compelling audiences to do the same, The Shylock and the Shakespearians does something no production of The Merchant of Venice ever could.””
— The Atlantic: The Shylock and the Shakespeareans
“The acting is excellent, and the direction and writing superb…. Writer/director Einhorn handles the depths of these kinds of dilemmas with an impressive ease. As a neuroscience writer, I can attest that this is difficult to achieve.”
— Scientific American: The Neurology of the Soul
“ In gathering the scraps of what maybe was and might have been, Einhorn has shaped his life into his masterpiece.”
— Medium: Doctors Jane and Alexander
“Almost unbearably funny.”
— The New York Times: Fairy Tales of the Absurd
“Don’t ever take a stock tip from a critic, but this one looks like a buy”
— New York Magazine: Money Lab
“Exquisitely ingenious...truly enchanting.”
— The New York Times: Unauthorized Magic
“Einhorn directs his play with a flair for both comedy and complexity…Be prepared to be swept away, and suddenly confronted with complexities and philosophies that strike a nerve…The play leaves you breathless and spellbound…Theatre that needs to be seen and a dance that needs to be experienced”
— Huffington Post: The Marriage of Alice B. Toklas by Gertrude Stein
“‘Waiting for Godot’ meets ‘The Twilight Zone’ in this masterpiece of absurdist theatre.....Refreshingly original theatre flawlessly performed.”
— Stage Buddy: Alma Baya
“5 STARS. A small gem of a play...moves seamlessly from the farcical to the darkly insightful.”
— London Living Large: The Marriage of Alice B. Toklas by Gertrude Stein
“[A] bleak, humor-flecked tale...set in a world plagued by human problems that eternally replicate — because survival is a brutal business, and selfishness is one of our dominant traits”
— The New York Times: Alma Baya
Books
“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. (STARRED)”
— Kirkus: Fractions in Disguise
“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: Paradox in Oz
“The combination of Einhorn’s wit and Shanower’s affectionate envisionings make this Oz adventure a near-tangible reality.”
— Asimov's Science Fiction: The Living House of Oz
“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 : A Very Improbable Story
Adaptations
“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. (FOUR STARS)”
— Time Out New York: Do Androids Dream of Electric Sheep?
“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: Do Androids Dream of Electric Sheep?
“An act of fan love but also dramatically shrewd.”
— The New York Times: Do Androids Dream of Electric Sheep?
“An exacting and purposeful project. (CRITICS PICK)”
— The Village Voice: The Pig
“An extraordinary play…a goofy, charming, weird, and also serious evening.”
— The National Review: The Pig
“A layered and darkly laced concoction. (CRITICS PICK)”
— The New York Times: The Pig
““[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 out.”
— The New York Times: The Iron Heel
“Even devotees of the book—which relates how a substance called ice nine destroys the planet—may be seduced.”
— Variety: Cat's Cradle
“A striking theater piece, optimally staged.”
— TheaterMania: The Lathe of Heaven
“Nothing short of astonishing...Einhorn has adapted this first book of Auster’s New York trilogy with intriguing staging and theatricality. (FIVE STARS)”
— Blogcritics: City of Glass
Directing other work
“With spirited direction by Edward Einhorn, the homespun, frenetic action unfolds...with slapstick and broad, vaudevillian humor.”
— Associated Press: The Last Cyclist
“The Dance has...a jaunty innocence and theatricality which Einhorn and his band of actors and dancers surefootedly exploit.”
— The Village Voice: The Dance
“The production benefits from brisk direction, strong acting and an unusual focus on the internal destruction caused by radicalization, rather than empathy with the enemy.”
— The New York Times: Pangs of the Messiah
“A dark and giddy satire on conformism that was given a delirious, hilarious Untitled Theater Company production directed by Einhorn himself.”
— TheaterMania: Rhinoceros
Audio Dramas
“This is a podcast we can whole heartedly recommend. It costs nothing, it’s massively entertaining and informative, it’s beautifully produced and acted and it leaves me both hoping and looking forward to the next offering from Edward Einhorn”
— Set the Tape: The Resistible Rise of J. R. Brinklley
“A lovingly-crafted audio drama adaptation of Jack London’s formative dystopian novel of the same name....bringing non-fiction into the fiction world to compliment it perfectly”
— Discover Pods: The Iron Heel
Librettos
“Slyly written...often beautiful”
— The New York Times: The Velvet Oratorio
“It succeeds at being a play, an opera, and a sheer spectacle in ways Ezekiel the Tragedian may have never even thought of.”
— Theater Scene: Exagoge
“The hundred-minute play-opera, which is expertly acted and directed, brought new meaning to me despite my familiarity with the story; it also allowed us all to make merry. And in these difficult times, at least for one special night, that is enough.”
— This Week in New York: Exagoge
“An intricate ode to Jewish intertextual tradition...The way Einhorn has paced this evening is a feat in itself...truly impressive puppetry...when you’re going through a Seder, joining in on Eliyahu Hanavi, and learning a bit more about the Jews of Elephantine, it’s hard not to enjoy yourself.”
— The Forward: Exagoge
“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 ... Henry Akona’s cleverly dissonant, rhythmic music [is] deftly and tastefully orchestrated ... 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.”
