Martin Denton gave The Brokenhearteds a really nice review at NYTheatre.com

"Temar Underwood's new play The Brokenhearteds is billed as a political thriller, and right away it's evident what makes this work of theatre unusual, special. Who writes political thrillers for the stage nowadays? (The last one I can think of is Tom Stoppard's Hapgood.) The Brokenhearteds is almost Ludlam-esque in its high-stakes intrigue. It will probably make a terrific film. Here, in a production at Wings Theatre under the precise and intelligent direction of Pete Boisvert, it makes for a cinematic and compelling, if sometimes overreaching, live drama."

To read the full review click HERE

Also, if you'd like to listen to some of the folks from the creative team speak. Click HERE to listen to the NYTheatre podcast.

Jon Sobel from Blogcritics says this about Jon in Soul Samurai:

here are many aspects worthy of note: the sweeping choreography during the first "Interlude" (actually a comic book-style origin story); Dewdrop and Sally's meet-cute scene; Hoche's turn as an arrogant preacher; and the climactic slow-motion battle between Dewdrop and her ultimate nemesis (who that turns out to be, I won't give away), to name a few.

VanLoan from NYC Onstage says this about Jon in Soul Samurai:

Hoche displays great comic timing and his fabulous Super Fly fur coat is a highlight

Aaron Riccio from New Theater Corps says this about Jon in Soul Samurai:

Everybody has their moment: for Hoche, it's the level of expression in his eyes while playing the Masked Marcus

Samantha O'Brien from OffOffOnline.com says this about Jon in Soul Samurai:

Particularly successful are the scene-stealing Tolson and Jon Hoche, who adds hilarious swagger to his roles (his pimp-like gang leader and one-eyed preacher shouldn’t be missed). The show seems just as much fun for the actors as the audience. You can’t even fault them when they break into an accidental chuckle.

Mark Peikert from Backstage says this about Jon in Soul Samurai:

Sheldon Best and Jon Hoche, as various villains, lackeys, and saviors, are nothing short of astonishing in their versatility.

Dan Bacalzo from Theatermania says this about Jon in Soul Samurai:

[Soul Samurai] includes plenty of plot twists and a variety of narrative strategies...My favorite is a puppet theater piece in which Sally tries to shut out the cries of the world -- represented by an adorable and expressive puppet designed by David Valentine, and manipulated and voiced by Jon Hoche.

Andy Propst from The Village Voice says this about Jon in Soul Samurai:

The piece tweaks some obvious targets (Charlie's Angels and any number of Bruce Lee films) and some not so obvious, like blaxploitation films—which are deliciously skewered by Dewdrop's unlikely ally, Grandmaster Mack (Jon Hoche), portrayed as an Afro-sporting pimp replete with a striped burgundy fur coat.

Michelle Bent from The West Essex Tribune says this about The King and I:

Jon Hoche was 'Dead On' as the overbearing and spoiled King and Siam who manages to get his way with everyone until he meets his children's new tutor Anna, gracefully played by Blair A. Brown.

Kimberly Patterson from OffOffOnline.Com says this about The Merchant of Venice:

The principal actors were very fine: all seemed at ease with their characters both physically and emotionally. The story's key plot lines—Shylock and the merchant, Portia and her caskets—were deftly handled. But the best indication of Basil's respect for Shakespearean drama came during a scene near the play's conclusion. Featuring Lorenzo (Jon Hoche) and Jessica (Sarah Price), the short garden scene does little to advance the plot and involves only supporting characters. A lesser team would have rushed through it (or would have cut it from the show altogether), or would have cast less-experienced actors in these secondary roles. Instead, making full use of the entire stage, the actors and director took the time to joyfully explore the language and express the beauty of this flirtatious love scene.

Still, the success of the play's smaller moments, like this one (or any time the hilarious Mat Sanders was onstage as Launcelot Gobbo), in no way minimized the wonderful work of David Dean Hastings as Bassanio and Richard Fey as Antonio. The two actors brought out the subtleties in their characters by showing their relationship with each other as fraternal and affectionate. Elizabeth Keefe was a dignified and clever Portia who became a believable young male lawyer by not overselling the performance. Rainard Rachele's Shylock was both unlikable and pitiable: he gave the audience insight into a complex, unhappy man.