Turn of the Screw:
"Katharine Horowitz crafts an elegant soundscape that implies every creak, bump, and rustling tree at the isolated home." - Scares In Store at "Turn of the Screw", Ed Huyck, City Pages, 10/9/12
“The lighting (by Paul Epton) and sound (by Katharine Horowitz) do much to create the sense of foreboding that's so much a part of the piece. Whether it's music or a sound like a heartbeat, or anything in between, the sound keeps you on the edge of your seat.” -“The Turn of the Screw” by Torch Theatre Company at the Minneapolis Theatre Garage,, 10/21/12

Agnes Under The Big Top:
"Exceeding both set and lights, however, is Katharine Horowitz and her sound design. From the smallest hydraulic hiss to the largest railway clatter, the soundscape in Agnes is robust and, for lack of a better term, just plain fun." - Mixed Blood Theatre's 'Agnes Under The Big Top': six rings shy, Chris Kehoe, TC Daily Planet, 2/23/11

"Katharine Horowitz's sound work juggles ambient rainfall with bursts of radio noise and stretches of live music (the recalcitrant Sophie becoming the place's chanteuse), in a sonic palate that enhances the show without imposing distraction." - The Boundaries of Force and Harm, Quinton Skinner,, 10/28/2009

Bach at Leipzig:
"...accompanied by a booming Bach fugue in Katharine Horowitz's wry, ear-pleasing sound design, it's a tight, tiny tour-de-force." - It's Difficult to Describe "Bach at Leipzig" But it's easy to enjoy it, Dominic Papatola, Pioneer Press, 2/20/07

The Water Engine:
"Gremlin Theatre's production, staged by Sarah Gioia, includes an always-entertaining radio sound-effects engineer (Katharine Horowitz), who adds footsteps, slamming doors, ringing doorbells and other audio colorations to the performance." - "Water Engine" drives its point home, David Hawley, Pioneer Press, 12/2/07