Reviews

Pangs of the messiah

Sat, 29 Oct 2011 15:17:47 -0400

“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.”
Catherine Rampell Read the full review at The New York Times

“Yvonne Roen steals every scene she's in as the childless Tirtzah, torn between her desire to have a baby and her devotion to her increasingly divided family....Jane Stein's inventive set visualizes the encroaching outside conflict by employing miniature models of cityscapes that are consuming the family's home. Henry Akona's original music is one of the production's highlights, and Jenny Lee Mitchell's clarinet playing is touching.”

Jason Fitzgerald
Read the full review at Backstage

The Pig, or Václav Havel’s Hunt for a pig

Wed, 29 Jun 2011 18:15:21 -0400

“A combination of media satire, rural operetta, and political parable, ‘The Pig’ may be one of the more unexpectedly playful and rewarding offerings of New York's summer season.”

Jason Fitzgerald
Read the full review at Backstage

“This snappy slip of a piece, clocking in at a mere 65 minutes, is sprightly and joyful. However short the performance, the cast has plenty of time to display their ample talents, all with fine comedic timing and delivery, lovely singing voices and even the occasional instrument. Edward Einhorn's springy and clever translation pairs well with Henry Akona's easygoing direction that gives The Pig an organic delight befitting such a tale...The Pig offers all the right elements for a satisfying evening: a little melodrama and a lot of humor with music and savories to boot.
Rachel Merrill Moss Read the full review at nytheatre.com

“The singers were incredible; at one point, Moira Stone playing the Bride moved towards our table, her eyes blazing with such passion that I scraped my chair back and leant back too as if I was in an emotional wind-tunnel...Einhorn fundamentally gets Havel’s theatre, beyond the typically reductive readings of his plays as just ‘dissident’ theatre (a label Havel rejected), to an understanding that these plays are about language – how we use language and how language uses us. The prolixity, ellipses, and repetitions have a rhythm and aesthetic point, that here in Hunt for a Pig is beautifully offset by the musical refrains.”

Michelle Woods
Full review at New York Irish Arts

“The true genius of the piece struck me as this: on the one hand, the ditzy reporter avoids questions about real politics with an important political and cultural figure in favor of this silly anecdote…but the anecdote ends up being devastatingly eloquent about the political and economic situation in the country at the time.”

Trav SD
Full review at Travalanche

Do Androids Dream of Electric Sheep?

Thu, 18 Nov 2010 22:33:33 -0500

“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...Neal Wilkinson’s set is exactly right: high-tech but also organic, a design that resists straight lines and geometric shapes. Its surrealism (imagine a modest, cut-rate creation by Gaudí) matches the dreamlike style...What sticks with you are more ghostly images: a fuzzy video screen, a sad-faced android and an opera singer, played by Moira Stone, who seems both completely phony and movingly fragile at the same time.”

Jason Zinoman
Read the full review at The New York Times

“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.”

Raven Snook
Read the full review at Time Out New York

“Edward Einhorn has crafted an eerie, strikingly designed adaptation of Philip K. Dick's heady post-apocalyptic novel.”

AJ Mell
Read the full review at Backstage

“Einhorn’s staging works well within the tight space and he creates some nice stage pictures. A lot of those pictures are bolstered by set designer Neal Wilkinson's vision of a deteriorating future world. There is an assortment of broken appliances and mannequin parts thrown into the nether regions that surround the raised stage platforms. Even the cellist, Laura Metcalf, uses a leg as a music stand.
“Metcalf's live solo cello played throughout his production is fantastic! Henry Akona composed the warm and sedate melodies. They say the cello creates sounds that are closest to the human voice so it is a perfect choice of instrument for a story about what it really means to be human. There is a cool video component to the production that works in many ways. There are three oddly shaped screens hanging above the set with a projector pointed at each one. Video designer Jared Mezzocchi uses them mostly as video screens for phone calls or TV shows the characters are watching.
“The cast is very good. Alex Emanuel plays Deckard with a cold, hard soul that slowly warms and melts as he begins to realize that he is actually more inhuman than human because he remorselessly hunts down androids. Yvonne Roen plays Priss and Rachel (the same model android but different people) with flair and certainly no fear. Moira Stone is extraordinary as Luna. She has a singing voice as strong as her acting skills. Christian Pedersen plays Roy with tons of grinning arrogance. He channels a lot of Rutger Hauer, who plays Roy is the movie. The rest of the cast does a fine job building this world where the lines between real and replica are blurred.
“This production is surprisingly provocative. The script pinpoints the subject and daringly tackles some heavy ideas. The design and music are exceptional and the acting is pretty solid. There are likely to be a lot of people out there that really only know this story from the movie but this is a great way to get the story Philip K Dick intended.”
Richard Hinjosa Read the full review at nytheatre.com

“If you've read the book, you'll be especially delighted by this production; if you've seen the movie Blade Runner, you might be a bit confused. Regardless, Do Androids Dream Of Electric Sheep? is a brilliant theatrical event.

“I have to come clean here: I am a huge fan of the book, written in 1968 by Philip K. Dick, and also the 1982 movie directed by Ridley Scott; I was really looking forward to seeing this production. It was a slippery slope of possibilities: it could have been the worst gamble I'd made with New York independent theatre, it could have been awful.
“But it wasn't.
“Electric Sheep is a thoughtful adaptation by a company that took care to spend money where it was most necessary (set, props, costumes, video, projections) as well as on additions that made the production truly stellar (a cellist that underscored the entire performance on stage). It was clearly a labor of love and by people who really knew what they were doing.
“Every performer is wonderfully cast, but the most notable are Moira Stone as the opera singer Luna Luft who is featured singing arias during a good portion of the play and has one of the most controlled and beautiful mezzo soprano voices I've heard in a long time... and she's a fine actor to boot (in my experience the two don't necessarily go hand in hand). Alex Emanuel as the play's protagonist, android bounty hunter Deckard, is perfect; Alyssa Simon as the other bounty hunter, Phillipa Ryan, brings a crisp Sam Spade private dick quality to her role that is authentic and real and very enjoyable. I could easily compliment the work of every single member of the cast - everyone is stellar.
The true accolades go to Edward Einhorn though: his adaptation is really quite smart and very worthwhile, not one bit of what he includes is gratuitous or unnecessary. He has taken great care to respect the book's essence and reality while not seeping the play with sci-fi craziness. Video design by Jared Mezzocchi is incredibly well-choreographed and quite impressive. Costumes by Carla Gant are thoughtful and especially stunning on both the opera singer (Luft) and Deckard's wife (played by Uma Incrocci). Musical compositions by Henry Akona (performed live and underscoring the show, by trading cellists Michael Midlarsky and Laura Metcalf) engulf the audience in its ethereal other worldly sound. Set design by Neal Wilkinson is not only efficient providing great levels of space and view, but also quite beautiful and smartly themed with retro shape and style.
I can't think of a reason for you not to see this show...especially if you've read the book.”
Janelle Lannan
Full review at Theater is Easy

“Alex Emanuel as Rick and Uma Incrocci as his spouse Iran convey the grinding blankness of the dying (yet still killing) planet well; Roen in a dual role as Pris and her upscale android counterpart Rachel is skillfully off-human, and does a good job adopting the femme fatale/object-of-desire motif of the movie as a personified transferal of the book’s undercurrent theme of android-fixation as literal commodity fetishism; and post-vaudevillian visionary Trav S.D. as 24-hour talkshow-host tranquilizer Buster Friendly slides into the role as if his very skin and vocal-cords were formed from polyester.

...Einhorn has truly endeavored to connect with the story and the people at its center, and found their humanity.”

Adam McGovern
Read the full review at Comic Critique

"I really recommend it...Don't you love a play that sends you to the novel?"

Michael Portantiere
Listen to the podcast at Broadway Stars

Rudolf II

Thu, 11 Mar 2010 11:48:17 -0500

“One of many questions posed by this play is: if you had essentially unlimited riches at your command, would you choose to squander them on science and art or on national defense? (Which answer is the truly mad one?)

“Which is not to say that Rudolf II is not insane; while the sometimes over-the-top first act of Einhorn’s play details the emperor’s wild and diverse obsessions and passions, the exquisitely sad and touching second act shows us the ruins of the mind that had been capable of conceiving them. Rudolf’s illness, possibly inherited ... is very real and genuinely tragic.

“The play, which makes no claim to being a true historical account, is entirely true to the obsessions of its author. Key themes from Einhorn's work emerge here: the scientific quest for knowledge and the ways in which that can clash with faith; the mysterious path of mental illness; religious (in)tolerance and what it means to be a Jew.

“Rudolf is an immense role, and Timothy McCown Reynolds gives the immense performance that the play requires and deserves. Particularly in the poignant second act, where we witness the decline of a startling intellect, Reynolds brings potency and conviction to a larger-than-life character.

“Rudolf II is the kind of audacious, ambitious, commercialism-be-damned play that makes indie theater so special and worthwhile. I am very glad to have seen it, and to have been exposed to the historical figures and profound ideas that it trades in. A most stimulating event!”

Martin Denton
Read the full review at NYTheatre.com

Director Henry Akona could not have chosen a more palatial location to stage ... “Rudolf II” than the Grand Ballroom of the newly restored Bohemian National Hall .... With its high ceilings, new crown moldings, iron handrails and sparse, yet deliberate set design, accompanied by a live chorus and musical ensemble—the Grand Ballroom gives you a sense that you’re entering a royal palace.

One of the many entertaining aspects of the play, besides the location, is playwright Edward Einhorn’s penchant for witty dialogue. .... These are the moments that make “Rudolf” the play as memorable as it is fun to watch. The costumes are exquisite and rarely do audiences have the chance to experience the detailing (from the turquoise table used for divination to the men’s slinky tights to the hooks and eyes on the women’s corsets) so closely. The play includes a life chorus and a 4-piece musical ensemble that includes a guitar, violin, flute, and clarinet. The overall production looks expensive and belies the $18 entrance fee. Live music; live singing, and live theatre all for under $20? You’d have to be “Habsburg mad” not to go see “Rudolf II.”

Antonio Cerna
Read the full review at Homo-Neurotic

“You’ve heard of Edward II, Richard III, and Henrys IV, V and VI. Rudolf II? It turns out Rudolf II, who ruled Bohemia, Hungary, and Croatia from roughly 1572–1608, had quite an interesting story. And playwright Edward Einhorn has imagined and presented it in a manner that is nothing short of dazzling.

“Mr. Einhorn is an accomplished playwright who confidently breathes life into a complex and paranoid ruler who was uniquely unqualified to rule. Yet, Mr. Einhorn also captures Rudolf’s eccentricity, humanity, contradictions and humor. The love scenes between Rudolf and his mistress Katerina (Yvonne Roen) are playful and sweet. Ms. Roen expertly plays the apprehensive and long-suffering mistress, loving Rudolf despite his numerous dalliances and his open long-term affair with his chamberlain, Philip Lang (Jack Schaub). Each actor in this production is greatly talented; there are no weak links. Standouts include Eric Oleson as Rumpf, Rudolf’s first and candid chamberlain, and the bearish Joe Gately as the great but haughty Danish astronomer, Tycho Brahe. Carla Gant’s costuming can only be described as majestic and Ian W. Hill’s lighting has a touch of the surreal.

“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. You don’t need to be a scholar of the Austro-Hungarian empire to enjoy this play; all you need is the willingness to be entertained and enlightened.”

William Coyle
Full review at Off-Off Online

“The show is great. The acting is phenomenal and it’s one of those off-off-Broadway shows that really should be off-Broadway so it gets the audience it deserves.

“Timothy McCowan Reynolds plays Rudolf and is ... nothing short of incredible. Reynolds’ portrayal is sad, funny, charming, frightening, sexy and pathetic all at once and he never slows down.

“As good as he is, others in the cast step right up to his level. His mistress Katerina is played by Yvonne Roen and she too is quite good. At first we see her as merely a sex object for Rudolf but as the play evolves it is clear that she very much loves this man who is the father of her children. Roen can switch from playful to serious on a dime and her final scene with Rudolf is heartbreaking when she sees that the love of her life is losing his battle with sanity. Other standouts in the cast are Joe Gately who plays the famous astronomer Tycho. Although his scenes are brief, his moment with Rudolf as he begs to “let me not seem to have lived in vain” is the dramatic highlight of the show. His desire for success is so real that it hurt me to see Tycho realize that he may not achieve all he dreamed of. Shelley Ray gives comic relief playing Elizabeth, the poet who may or may not have the ability to contact the dead. She is like that goody-two-shoes we all know and hate and she does a great job when the spirit speaks through her. Jack Schaub plays Philip, Rudolf’s servant and love interest, with a naive eagerness in Act I and a grounded maturity in Act II. Eric E. Oleson is wonderful as Rumpf, who only has loyalty to Rudolf despite the Emperor's paranoia and distrust.

“Director Henry Akona makes wonderful use of the newly refurbished Bohemian National Hall. It really lets the audience feel they too are in the bed chambers of the Emperor. The live musicians and singers in the balcony providing music throughout the show and during the scene changes, add even more to this environmental production. Akona finds the right balance between the serious nature of the show and the comedy that happens even in the most serious of moments. Carla Grant’s costumes are rich and Ian W. Hill’s gorgeous lighting is warm. Writer Edward Einhorn should be commended on this world premiere. The play is great. It's got everything and it should have more of a life that just an Equity showcase.

“I didn’t just like this show, I loved it. It proves that an off-off-Broadway production can be just as inspiring as a show that has a huge budget and weeks and weeks of out of town try-outs. This show could be put into any off-Broadway house and have a very successful run. Get a ticket now, I doubt you'll regret it.”

Darron Cardosa
Read the full review at theasy.com

“What I really found captivating about this play is the use of language. Through the play is set in 1600 Prague, the language is modern and Mr. Einhorn does a great job of conveying how each character felt about this demanding emperor.

“The directing by Henry Akona is superb and set as a theatre in the round. Also, adding small details add to the atmosphere: a group of singers who chant, the terrific color pallet, and the costumes. For a play set in only one spot, the audience never gets bored. There is so much action with very clear dialogue.

“The cast is great and I must say an outstanding tour deforce performance by Timothy McCown Reynolds.”

Neal B.
Read the full review at nealbinnyc

“Timothy McCown Reynolds acquits himself well as the hapless Rudolf, Yvonne Roen is particularly human and moving as Rudolf’s mistress Katerina, and Shelley Ray gives a chilling performance as the bigoted, conniving poet Elizabeth. Moreover, musicians and chorus add ambience to the scene and the Grand Ballroom itself provides an impressive setting.

“Happily, Einhorn concludes his play with a positive view of Rudolf’s place in history. Though Rudolf’s lack of leadership led to disastrous wars, his tolerant views would usher in new enlightened thinking, a promise for a future age.”

Irene Backalenick
Madman, Monster, Mystic or Modern Man

The Velvet Oratorio

Thu, 19 Nov 2009 12:38:41 -0500

Buy the book or read an excerpt

“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

"Marvelous and beautifully acted"

15 Minutes Magazine

"Incorporating primary sources including contemporary news accounts, official statements of the Czechoslovak Communist Party, and declassified CIA and State Department cables, as well of scenes from Vaclav Havel’s Vánek plays and original interviews conducted by librettist Edward Einhorn, Oratorio presents an impressionistic but informative overview of the heady days of the Revolution…a well-conceived production that provokes welcomed reflections on the Velvet Revolution and the fall of the Communism in general"

JB Spins

Scenes From A Misunderstanding

Sun, 24 May 2009 12:52:17 -0400

“[UTC61 has] an emphasis on theatre as a place for free and unfettered intellectual exchange—a place not just to be entertained but also to be enlarged and enlightened ... Scenes from a Misunderstanding (written by Carey Harrison and directed by Henry Akona) exemplifies this concept beautifully.

“... Carey Harrison’s script is more than just a high concept comedy, as later scenes (in which the two meet, in lederhosen—you have to see it) bear out. The philosophies of both of these great thinkers are contrasted and a path toward compromise and tolerance is charted. Henry Akona’s staging is light, deft, and appropriate, and the performances of Mick O’Brien as Jung, Eric Oleson as Freud, and Kris Lundberg as both of their maids are delightful.”

Martin Denton
nytheatre.com

Drs. Jane & Alexander

Wed, 20 May 2009 12:49:51 -0400

“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. Firmly in the center of things is Alyssa Simon in a brilliant performance as Jane.” nytheatre.com

Hiroshima

Mon, 25 Feb 2008 12:46:07 -0500

“Hiroshima is a close look at what can happen in barely the time it takes to blink an eye ... the various pieces of the collage: the music, the video, and the performers, create a very fine show. The play is frightening and thought provoking, leaving its audience to wonder about all the ‘what ifs’ in life.” New Theatre Corps

Cat's Cradle

Fri, 22 Feb 2008 12:42:25 -0500

“A youthful, earnest and energetic show.”
New York Times

“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

“[Vonnegut's] calypsos are the source for composer Henry Akona's lyrics but the music is all Akona and I really enjoyed it. It is played live by the actors on stage which makes for an impressive experience watching these folks step into a character and then pick up a guitar, trumpet, or xylophone and play ... Mr. Vonnegut would have been pleased with this adaptation. Vonnegut fans will be pleased as well. Definitely check this one out.”
nytheatre.com

“John Blaylock shines briefly as Ambassador Minton, delivering a quietly furious denunciation of patriotic holidays, and Michelle Rabbani invests Mona Aamons Monzano with sweet gravity.”
The Village Voice

“This ingenious production ... makes diverting use of a small camera focused on an intricate series of models (designed by Tanya Khordoc and Barry Weil) ... several actors stand out in featured parts, among them John Blaylock in dual roles as a laconic model-store owner and a cynical foreign-service attaché and Sandy York as a chirpy denizen of Indiana with big hair and replete with zeal for any Hoosier she encounters.”
Backstage

“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 performance 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

Lysistrata

Sat, 8 Nov 2003 13:49:18 -0500

“Edward Einhorn seems to have done his research. The performances are lewd without being prurient, and he has reined in his boisterous ensemble just enough. The production fully utilizes the entire space. The actors cavort, yell and sing. This is a loud and raucous show. And so it should be since Lysistrata is after all a comedy. The audience for this show? Anyone with an appreciation for sex, or drinking -- or even Sex and the City” 
Curtain Up

“Overall, Lysistrata 100, is an enjoyable erotic production with strong acting (including a large chorus handling complex choreagraphy/blocking), a brilliant sound design/composition by William Niederkorn and sensational directing/writing by Edward Einhorn who has made the leap from his children’s theater off-Broadway production of Fairy Tales of The Absurd, to the orgiastic rituals of ancient Greece, with unsettling ease. All in all a fun, risque, energetic, piece of theater with some of the most talented off-off Broadway people behind it.”
 Hi! Drama

“Directed by Edward Einhorn, Untitled Theater Company #61 did a fine job of evoking the agora [the Greek marketplace] and makes good use of the unusual space.” 
L Magazine

Lysistrata

Sat, 8 Nov 2003 13:49:18 -0500

Golem Stories

Fri, 24 Oct 2003 13:34:41 -0400

“Golem Stories’ skillful direction, enthusiastic young cast, and fresh approach to the well-known story of the Golem of Prague give the play an energy and excitement that many larger scale productions don't have ... In it simplicity and directness, Golem Stories is a reminder of the supernatural quality of the theater, which can transform the most basic elements of speech and play into something magical.”
 The Jewish Standard, October 24, 2003

“It really is quite wonderful.” 
Hi! Drama

“Edward Einhorn has skillfully written a fairy tale and love story for adults. His writing gives the players great opportunities, such as Rifka's fake mad scene which is executed with great aplomb. The style is an absurd fantasy; and as the best of the absurd genre, more than a hint of truth is borrowed from the real world.” 
Stage Pages

“Rather than simply retell the legend of the Golem, Edward Einhorn has skillfully woven the original into yet a new cautionary tale; In sum: our words are more powerful than we imagine.”
 Artzine

“Einhorn should be commended for seeking the deeper meaning behind the Golem legends.”
 Off-Off Broadway Review

Fairy Tales of the Absurd

Wed, 18 Jun 2003 13:55:54 -0400

“The laughter feels like spring in Fairy Tales of the Absurd ... a bright production with witty music and puppets galore …. Almost unbearably funny. [Peter B. Brown’s] pacing and diction are perfect.”
 The New York Times, D. J. R. Bruckner, June 18, 2003

“Ionesco’s puncturing of pretension and his ability to find pure silliness in the everyday seem tailor-made for the young...the staging is also hilarious.”
 The New York Times, Laurel Graeber, June 20, 2003

“Staged with Pop Art panache by Edward Einhorn, Tales for Children ... jauntily lays out Ionesco’s thematic preoccupation with the way our minds are duped from the outset by parental chicanery.” 
The Village Voice, September 18, 2001

“While many adults may find the show enjoyable and humorous, children savor the zany nature of the fairy tales.”
 Theatermania, June 13, 2003

“The use of puppetry, bright colored costumes, props, and sets, and cheerful music between scenes lends this would be-Electra story a bouncy sensibility that children will appreciate …The costumes in “Head” have a Mardi Gras quality to them, and the actors’ make-up is terrific. Incrocci’s extra head is another example of puppetry executed with charm and style.”
 Show Business Weekly, June 25, 2003

“Ian W. Hill portrays the most personable and engaging talking food that I believe I've ever seen on stage. You’ll be enchanted by the delicious variety of two writers’ imaginations-Ionesco’s and Einhorn’s -- as they take you and your family on a pleasant and happy journey to the cockeyed worlds beyond our own.”
 Nytheatre.com, June 11, 2003

“The small cast of actors is excellent. Uma Incrocci is a gifted puppeteer. Peter B. Brown and Celia Montgomery are so versatile that they nearly steal the show. It's quite an assembly of talent, including the first-rate puppetry.”
 Curtain Up, June 13, 2003

“Like any good comedy sketch, “One Head Too Many” works on several levels. The silliness obviously appeals to the very young while at the same time the witty dialog among the bickering parents can be appreciated by adults. Mr. Einhorn’s particular brand of humor makes this story ideal family fare. Children's theater and literature are all the richer thanks to Mr. Einhorn's wealth of talents.”
 PuppetMaster, June 25, 2003

“An unequivocal delight”
 Electronic Link, June 18, 2003

“A winning cast ... As director, Einhorn demonstrates a perfection of timing and expression ... the gift of Einhorn is the common humanity he injects into his delightfully idiosyncratic characters.”
 New York Arts Magazine, September 9, 2002

“A delightful introduction to the wonders of the surreal ... light-hearted and entertaining without becoming sugar-coated.”
 Off-Off-Broadway Review

“A fun, imaginative and playful time for all.”
 NYTheatre.com, August 15, 2002

“A witty exaggeration of the ageless parental ritual of storytelling to children.”
 New York Theatre Wire

“A very enjoyable show, fabulous for the adults and fabulous the the kids.”
 Hi Drama, August 16, 2002

“Peter Brown wittily plays a chef giving a lecture on how to boil an egg, keeping his tongue firmly in cheek.”
 Backstage, November 30, 2001

Rhinoceros

Thu, 25 Oct 2001 13:52:54 -0400

“Entertaining, engrossing and amusing”
 Backstage October 25, 2001

“The show to see”
 WNYC "Morning Edition" September 28, 2001

“A dark and giddy satire on conformism that was given a delirious, hilarious Untitled Theater Company production directed by Einhorn himself. The casting, in particular, was spot-on, with Peter Brown deploying a deadpan bitterness to perfect effect as the caustic snob Jean.” 
Theater Mania

“The lively cast ... is enjoyable to watch onstage and provides considerable entertainment.”
 Show Business Weekly, September 16, 2001

“No mere highlight can convey the cumulative force of Rhinoceros... Performances are quite good...Einhorn's staging is straightforward and attentive, making good use of the venue's features.”
 Curtain Up

“A deceptively quirky tale...featuring a nice ensemble cast and an appropriate dose of oddly incarnated rhinoceroses.” 
Electronic Link

The Dance

Tue, 27 Jul 1999 13:44:51 -0400

“The Dance has...a jaunty innocence and theatricality which Einhorn and his band of actors and dancers surefootedly exploit.” 
The Village Voice July 27, 1999

“Edward Einhorn brings a sparkling enthusiasm to ...The Dance” In Theater, August 16-23, 1999

“Interesting, hypnotic ... Christopher Roberts offers an understated, yet pleasingly mercurial performance.”
 Backstage August 13, 1999

Sweeney Agonistes

Fri, 5 Feb 1999 13:46:53 -0500

“Visually stunning.” Backstage, February 5, 1999

“I really, really liked Sweeney Agonistes ...with a wonderful performance by Julia Martin.”
 Hi! Drama on channel 57, January 22, 1999

The Bald Soprano

Sun, 1 Nov 1998 13:37:22 -0500

“[T]his near-perfect production of Ionesco’s absurdist classic captured all requisite droll humor ...Peter Brown matched the perfection of the Smiths.”

This Month ON STAGE, Late Fall 1998

Eddie Goes to Poetry City, Part Two

Tue, 29 Jul 1997 13:43:06 -0400

“...wittily acted and well paced.”

The Village Voice, July 29, 1997

My Head Was a Sledgehammer

Sat, 21 Sep 1996 13:40:40 -0400

“Director Edward Einhorn remixes this wonderfully evocative tea party ... injecting a Pygmallian story into Richard Foreman’s creation brew.”
 The Village Voice, August 21, 1996

“Collins and Martin were quite amusing and accomplished in their technique, which showed physical control worthy of a circus or burlesque act” 
OOBR, September, 1996

A Shylock

Fri, 1 Mar 1996 13:31:35 -0500

“Einhorn skillfully intersperses the famed soliloquies with his own lines... [A] hard-working cast of eight romps through 24 roles. In the leads, John Blaylock plays the professor with a thoughtful performance that pulls together the disparate elements, and Catherine Dunning brings a lovely, mocking tone to the role of Hamlet.”

Back Stage
March 1, 1996

Brimstone & Treacle

Fri, 31 Mar 1995 13:39:20 -0500

“[A]n oddly intriguing and beautifully performed play...Elizabeth Yager is masterful in suggesting the agony of brain-damaged Patricia.”

Back Stage, March 31, 1995