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Hard boiled egg

Theater of Ideas:
scientific, political, philosophical,
and above all theatrica

"Exquisitely ingenious"
- The New York Times




"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 composor 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."
"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."
"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."


"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

Havel Festival

Besides presenting the full festival, Untitled Theater Company presented The Memo and Audience

"Scrupulously directed by Edward Einhorn and performed well by a talented ensemble, [THE MEMO] is a fine production"

"The explicitly poltical plays were particularly effective... The Vanek plays [AUDIENCE, PROTEST and UNVEILING] were produced to great effect
American Theater

"The director, Edward Einhorn, is careful to not apply a heavy hand [to AUDIENCE], and allows his actors to flesh out their roles, which they do nicely. I thoroughly enjoyed the performances from Scott Simpson, who plays a mousy Vanek, and Dan Leventritt, who truly transforms himself into the Brewmaster."

Strangers and Linguish

Linguish Script Excerpt

"The first part, a two-hander pregnant with Pinter-esque pauses, manages to convey the numbing repetitiveness and frustration of life with an amnesiac. The second, an inspired absurdist comedy, follows four strangers infected with a mysterious form of aphasia who are quarantined in a No Exit bunker. Literally at a loss for words, they must invent a new language in order to communicate—or to keep from going crazy. Side effects may include hilarity, we are told (it's definitely contagious)."
The Village Voice (2006)

"The dialogue is a slow burn of wit, un-canniness, seduction, and just the right amount of heart-wrenching...[Peter Bean] possesses an unsettling, calm-before-the-storm quality, as well as a muted sensuality, that makes him a fun and unpredictable fixation. If the other offerings of NEUROfest are as novel and cerebral as Strangers and Linguish, one might be obligated to make repeat visits."
Theater Talk

"NEUROfest's presentation of Strangers and Linguish has captivated me to the point where I'm gunning to buy a NeuroPass. Strangers...is an extremely well-acted and poignant study of amnesia but Linguish - a witty look at aphasia (the fascinating, terrifying neurological condition that robs one's ability to use language) - is the real star of the twin performances. The play is worth seeing for the brilliant ensemble alone, but the inventive bit of scientific license that describes the disease as an insidious virus is really what makes this show remarkable. "
L Magazine

"Touching, stark, and entirely unsentimental, Strangers is a smart, mature, highly effective one-act drama. Peter Bean gives one of his trademark excellent performances...Nancy Nagrant does excellent work as Sylvia, serving as both our guide into Richard's muddied consciousness as well as our surrogate...Josephine Cashman is luminous and warm as a psychologist... Both plays are neatly staged by Einhorn and feature effective production values"

"It is unique to find a complete ensemble performing at such an extraordinary level of skill. "
Hi Drama

"Edward Einhorn combines Beckett's absurd landscape with Mac Wellman's verbal Cuisinarting, and Oliver Sacks' ruminations into neuro-dysfunctions for his oddly entertaining foray into aphasia, euphoria, and euphony."
The Village Voice (1997)

"A well-written, well-acted meeting of Kafka and Oliver Sacks."
New England Review

The Golem, Methuselah, and Shylock: Plays


"The story is engaging and the Jewish lore is appropriately and authentically woven throughout the text."

"Each legendary eponymous hero gets a turn in the spotlight, backed by a supporting cast of quirky characters and a plot that is original, provocative, and, above all, humorous."
New Jersey Jewish News

"Einhorn’s take on each is indeed irreverent and quirky—and makes for good reading...Einhorn is an original thinker and a gifted dramatist."
Jewish Post & Opinion

"This tongue-in-cheek look at some of the legends of Judaism is...a welcome addition to any dramatic collection."
Association of Jewish Libraries Newsletter

"This collection of plays makes for a wonderful introduction to Einhorn's work and reveals an incisive mind which has a flair for injecting even serious and heart-wrenching tales with a deep-belly laughing humor."
Book Help

"Each play in The Golem, Methuselah and Shylock was written with meaningful intellect. These plays can best be described as enlightening entertainment. I would love to see any one of them performed in my small town!"
Fantasy Novel Review

"The three plays display an ease of mind that induces thought and an introspection of the mind to the reader or viewer. This is a strongly recommended read for all play enthusiasts as well to all Jews."
Midwest Book Review

"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

"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

Unauthorized Magic in Oz

Unauthorized Magic Script Excerpt

"Broadway revisited the land of Oz in a big way with "Wicked." Now the writer and director Edward Einhorn is returning there in a small way - but an exquisitely ingenious one...Mr. Einhorn's production takes place in two [toy theater style] houses, based on the illustrations of Eric Shanower and embellished by the show's scenic designers, Berit Johnson and Barry Weil, in ways that are truly enchanting...children don't have to understand paradoxes to enjoy the plot, in which Dr. Majestico learns how to have his house and destroy it, too."
The New York Times, Laurel Graeber, November 11, 2005

"I had a wonderful time, and I really wanted to say that Talaura Harms I think is one of the great puppeteers in this and she did an excellent job with the Parrot-Ox and I loved the original music as well by William Niederkorn... everything about it was delightful. It was just wonderful."
"Hi Drama" November 4, 2005

Fairy Tales of the Absurd

Fairy Tales Script Excerpt

"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 delighful 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 Auust 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


"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


Lysistrata Script Excerpt

"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

Sweeney Agonistes

"Visually stunning"

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 Dance

"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

Eddie Goes to Poetry City, Part Two

"...wittily acted and well paced."
The Village Voice July 29, 1997

My Head Was a Sledgehammer

"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

Brimstone & Treacle

"[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

The Bald Soprano

"[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

Golem Stories

Read an Excerpt

"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."

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

A Shylock

Read an Excerpt

"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