5 STARS "Nothing short of astonishing...Einhorn has adapted this first book of Auster’s New York trilogy with intriguing staging and theatricality. On the surface, the play, like the novel, tweaks the style of the noir-detective-mystery whodunit. But Einhorn then plunges it into a typhoon of surrealism and moves the focus from character to character. Played by one actor, Robert Honeywell, characters morph in and out of each other’s consciousness like ghosts blown about in a supercharged electrical storm."
Read the full article at blogcritics
"Mr. Einhorn and his designers do a fine job with the setting (a low-budget approach that conjures a noir atmosphere, thanks largely to live music from Freddi Price) and Mr. Honeywell makes an effectively untrustworthy narrator."
Read the full article at New York Times
"Honeywell gives a phenomenally nuanced, ghostly griot performance unlike anything I've ever seen...Miller's motion effects a physicality the equal of Einhorn's emotional coloration in giving dimension to Auster's visionary schema of thought and being"
Read the full article at HiLoBrow
"Fine tuned and unrelenting...This atmospheric film noir episode tickles the brain, asks us to listen deeply and seeks to sew our fragments back together...Rivera is lithe and serpentine in her liquid physicality and adds brilliant color to this portrait of disintegrating sanity. Moreno is a statuesque presence, a rubber man bending into any position that serves the character’s physicality with intense commitment."
Read the full article at NY Theater Guide
"This is a rave review...most of all we marvel at how brilliantly Einhorn, Honeywell, and the rest of the cast and production staff have teamed up to tell the tale."
Read the full article at Berkshire Fine Arts
"I came away jangled and unsettled, shaken and moved. One actor, the fluid and versatile Robert Honeywell, speaks all the play’s narrative and inhabits all of its characters. Mateo Moreno and Dina Rose Rivera — he of the rubber face and she of the lissome limbs — are, respectively, the Silent Man and Silent Woman"
Read the full article at nytheaternow
"City of Glass operates like a series of Russian Nesting Dolls concerning a mystery, with each doll hanging onto reality via a more tenuous string. It feels as if it were direct by Michael Curtiz on acid - and I mean that as a compliment."
Read the full article at What's on Off-Broadway
"The script handles the kaleidoscope deftly, often humorously, and avoids the pretentiousness that often attends such heady pursuits"
J. C. Wright
Read the full article at Stage Buddy