The Iron Heel

“This well-acted, cleverly executed production is a mind-bending tour de force of ideas, as only Einhorn can deliver, with darkly twisting humor and swaths of realism thrown in to perplex...It is a must-see if you enjoy flirting with a confluence of ideas humorously cast in an absurdist framework, and if you have fun being ejected from your philosophical and political comfort zones.” Full Review

"This production recalls...Mac Rogers’ ‘Universal Robots’ in giving an eerily artifactualized sense of existence; remote pasts reinhabited in distant futures, with we in the middle feeling like we’ve seen a ghost of ourselves…Einhorn leaves open questions that are settled in the novel to keep us thinking. And feeling...Amidst a cast of characters whose theories make the world turn in one direction or another, this is perhaps Einhorn’s most emotionally immediate work." Full Review

“United Theater Companies' adaptation highlights the best aspects of London's work while also shoring up some of it weaker points...The production also manages to give the story a deeper emotional impact thanks to the terrific cast...Most of all, the production brings alive the hope and horror of the revolutionaries who fought in the early 20th century in a way that feels relevant and contemporary to a modern audience.” Full Review

"In Edward Einhorn’s briskly-paced and endearing stage adaptation, the spine of the story remains, while much of the soapboxing has been trimmed...A rousing tale of rigged elections, false identities, prison escapes, bombings, romantic interludes, songs of solidarity, and scenes of terrifying carnage...Despite the naiveté of its source material, 'The Iron Heel' does seem to have a relevant message: As in London’s time, the American atmosphere is abuzz with the need for change." Full Review

"The adept theatrical version reflects the spirit of socialism–the show is free or 'pay what you can'...The show winds up an intellectually stimulating oddity rather than an emotionally stirring manifesto...As with past work, Einhorn proves again a master (but a benevolent one) in turning intellectual matters into engaging stage shows." Full Review

"Thoughtful and approachable...Tends to lose itself in dense political rhetoric...'The Iron Heel,' though imperfect, provides a solid introduction to Jack London and his work in a time wrought with doubts about the current economic and political landscape across the globe. Einhorn’s adaptation is a testament to the idea that, sometimes, the best way to understand the past is the best way to understand the present." Full Review

“This would be a rather dry piece if it were not for the parallels between London’s time and ours. The struggles are a bit different, but the Jack London predicted the rise of the 1%...A fascinating story–not always captivating, but always interesting. And I was impressed by how moved much of the audience was–old lefties and younger millennials finding a common bond in a story and songs over 100 years old. It is a fun night.” Full Review

“'The Iron Heel' is burdened by dense, interminable political arguments. But that did not deter Einhorn, who adapted that leaden tome into a flawed but refreshingly unironic play...Despite its dry-looking subject, the show has an endearingly loose do-it-yourself feel...It often gets bogged down in rhetoric, especially toward the end. But it 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.” Full Review

"The play produced upon me ambivalence. Not because of its artistic qualities: the form of the play here represents only an armour for propaganda analysis, and a reminder that the West hasn’t developed any new forms of political organisation since index funds socialism...The director utilises the methods of nostalgic group sing-along to bring the tendencies rooted in capitalism: of watered-down mass appeal, catchy jingles, sentimentalism, to their extreme expression." Full Review

“While telling their story, the players pause occasionally for a labor-anthem sing-along or to explain obsolete concepts. This device also allows Einhorn to insert some ambivalence about London's blithe embrace of violence...The script's reliance on hectoring speeches, manifesto-thin characterization, and narration in lieu of rousing action ultimately make for an inert production. As with London's book, it demonstrates how something can be red and colorless at the same time.” Full Review