“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.”
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.”
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.”
Full review at Travalanche
"A provocative and frankly entertaining theatrical experience with thoughtful interplay between text and music, amusing anecdote and political commentary...a cause for celebration in its ambiguity, intelligence, and humor."
Slavic and Eastern European Performance Journal