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Original Plays

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 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
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


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


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


Slyly written...often beautiful
— The New York Times: The Velvet Oratorio
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.
— Musical America: The Velvet Oratorio