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:

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

"This picture book for older children introduces the idea of probability using a funny, fantastical premise: A boy named Ethan wakes up with a talking cat on the top of his head. The cat informs Ethan that he’ll get off his head if Ethan wins a game of probability...Einhorn moves this math lesson quickly along, spurring it with Ethan’s oft-repeated need to get to his soccer game within the hour—and without the cat. Gustavson’s appealing oil paintings, which depict Ethan and his little sister in all their befuddled wonder, match well with Einhorn’s quirky text and premise. They are full of energy, odd angles, and offbeat perspectives, and kids will want to give them more than a passing glance."
Booklist, for A Very Improbable Story (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)

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

"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)

"With thousands of years between it all, it can be easy to lose sight of the origin of faith. Playing Dreidel with Judah Maccabee is a script for a play as Edward Einhorn presents a story where a modern boy finds a room that grants him a connection to an Ancient Temple in Jerusalem, and to famed figure of Jewish legend Judah Maccabee. Learning much of the reason for Jewish faith...an intriguing and fun work of theater, highly recommended."
Midwest Book Review, for Playing Dreidel with Judah Maccabee (play)

"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)

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