"The biggest delight in these productions has been the remarkable performance of Jonathan Horne as Henry V. These were the first roles I had seen him in and his deft transition, from the immature and roguish Prince Hal to the moral and military leader of a nation, has been incredible to watch."
"Mr. Horne’s Henry is not a sentimental orator with stars in his eyes; instead he is powerful, calculated, and subtle, and knows exactly what he is doing. "
"It can be difficult for an actor to credibly play both the brash and immature boy of the Boar’s Head Tavern and the loyal son and soldier at court and desperate for his father’s approval. Horne is able to play both parts beautifully and does it so naturally that neither aspect of the character comes across as forced."
"The final scenes between Henry IV and Prince Hal are sublimely moving, played to perfection by Mr. Ralston and Mr. Horne. "
"Mr. Horne’s performance as Hal is not to be missed. His Hal is earnest, dashing, formidable, and ultimately even more complex than we thought. "
"Amelia Fischer’s “Mary” and Jonathan Horne’s “Arthur” deserve particular note for the incredible dimension of characters who are supposed to be anything but dimensional. "
"The chemistry between Horne as de Bourgh and Fischer as Mary is delightfully awkward to watch. "
" Horne finds humor in Arthur’s befuddlement at the sensation of falling in love, which he first interprets as inexplicable worry for Mary’s well-being."
"Here, Jonathan Horne plays John Proctor as an "Everyman,"...His is a powerful performance, elegant in its simple choices, clear in the cognitive dissonances that come with basic paradigms being questioned, challenged, overturned. This is simply one of the best Proctors I've seen."
" The actors, Jonathan Horne and Courtney Patterson, go above and beyond by movingly dramatizing and centralizing the genuine love between the husband and wife. Horne gives us Proctor’s soul-wrenching conflicted nature, and Patterson manages to give her character interesting touches of modernity, thoughtfulness and interiority. It’s a strong cast all around"
"Mr. Horne and Ms. Patterson are perfectly cast; their humanity, their chemistry, their love are a palpable thing. They have only to look at each other for us to realize the depth of longing and sorrow they share; they make the tragedy of the ending well-nigh unbearable."
"Jonathan Horne fares better portraying Romeo’s evolution from cocky adolescence to melancholy adulthood."
"Jonathan Horne makes a lovely Romeo"
"Jonathan Horne as Romeo brings an earnestness, a vulnerability, a strength and a joy in finding his first real love that make his tears at the tragic ending totally heartbreaking. Mr. Horne also has an easy, assured mastery of the Shakespearean language."
"Two scenes that stand out for me are the comic villain Iachimo’s (played by the always interesting Jonathan Horne) stealing of a bracelet from the sleeping Imogen (Anna Fontaine) in a scene that almost, but doesn’t, become R-rated. The only problem in using an actor as smooth and magnetic as Mr. Horne is that when he’s offstage there’s suddenly a void."
"Jonathan Horne is once again Orlando (repeating from the Tavern's 2012 production), but here is even more appealing, definitely in tip-top physical shape, finding nuance that can only come from long familiarity with the character."
"Yet it’s the central figure who makes this all matter. Just as convincing as he was in Georgia Ensemble Theatre’s The Elephant Man last year, Horne captures the ambiguity of a man who’s unwavering in battle, but not outside of it; one minute a hero, the next sentenced to death. The actor is hardly a newcomer but there’s no mistaking he is on a heck of a roll now."
"Jonathan Horne, in the title role, gives a thrilling, multifaceted performance, with range and power."
"featuring a seasoned cast, led by Jonathan Horne’s sympathetic, haunting turn as the heavily disfigured Joseph Merrick. Without a lick of makeup, he made us believe in the character."
"Don’t expect Jonathan Horne as Merrick to be buried under mounds of grotesque make-up. Instead, like his predecessors (Philip Anglim in 1979; Billy Crudup in 2002), he is naked, symbolically speaking. Like them, Horne is an attractive young man. But when Treves begins to clinically describe Merrick’s deformities, as he stands before Treves’ colleagues at the hospital, Horne’s face and body begin to change. And as the audience uses its imagination, Merrick becomes the Elephant Man before your very eyes. The eyes well; it’s an unforgettable moment..."
"[Horne] Inexhaustibly maintains that crumpled posture for much of the play, losing himself in the role so completely and convincingly that you almost forget how strapping the actor really is..."