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SOUND DESIGNER  

 
 
 


Press

Interview in LA Stage Times with Ghost Road Theater Company, March 2013

Interview in Stage Directions Magazine, May, 2011

Interview with Brooklyn Rail Magazine, Sept 2011

Interview in Stage Directions Magazine, May, 2011

Article in American Theater about Awards Ceremonies, April, 2011

Interview with LA Stage Blog, Sept, 2010

Interview in Live Design Magazine, April 2007 "Young Designers to Watch"

Interview in LA Stage Magazine, Sept 2007 "Artists to Watch"





Selected Reviews:


The Limitations of Genetic Technology Directed by David Watkins Jr, Theater of NOTE, 2010
Stage and Cinema, by Tony Frankel
"Projection designer Steven Calcote and the always extraordinary sound designer Cricket Myers brilliantly take us into the future,.... Director David Watkins, Jr. and his team establish the chilliness of a future so near at hand."

Backstage, by Amy Lyons
"Director David Watkins Jr. strikes a pitch-perfect balance between poignancy and hilarity throughout. Projection designer Steven Calcote, sound designer Cricket Myers, and lighting designer Matt Richter contribute to the show's slick, futuristic feel."

Topdog Underdog Directed by Martin Papazian, Lillian Theater, 2010
LA Times, by Charlotte Stoudt
"Director Martin Papazian’s production offers plenty of texture, from Peter Wooley’s shabby apartment set, littered with porn magazines and milk crates, to Cricket S. Myers’ superb sound design, a jittery collage of jazz and rap."

Backstage, by Jennie Webb
"The gritty picture painted by scenic designer Peter Wooley, together with lighting by Heather & Rich Designs, is striking, and Cricket S. Myers' powerful sound design adds a plaintive edge."

LA Stage Scene, by Steven Stanley
"Cricket S. Myers’ outstanding sound design provides a pulsating, gritty urban soundtrack. "
Nerve Directed by Michael Matthews, 6 Avenue, 2012
The Edge, Los Angeles, by Obed Medina
"Sound designer Cricket S. Meyer’s use of 80s power ballads playfully underscore the action on stage and set designer Stephen Gifford’s realistic set, which includes an old Wurlitzer jukebox circa 1960s, anchors the play to the reality of the situation."

LA Weekly, by Mayank Keshaviah
"While the emotions in the piece don't always resonate, Stephen Gifford's set does, with its surprisingly authentic Wurlitzer jukebox streaming Cricket S. Myers' fittingly hipster-ish '80s soundscape. "

Lieutenant of Inishmore Directed by Wilson Milan, Mark Taper Forum, 2010
*** Nominated for an Ovation Award, Sound Design in a Large Theater, 2010
Backstage, by Les Spindle
"Laura Fine Hawkes' gritty sets, Stephanie Kerley Schwartz's costumes, Brian Gale's masterful lighting, and Cricket S. Myers' sound design are exemplary."

ReviewPlays.com, by Cynthia Citron
"Cricket S. Myers is the sound designer and Matt McKenzie has provided original music,... the overwhelming---and fabulous---sound is of tattooing drums, raising the roof between scenes. "
The Wake Directed by Leigh Silverman, Kirk Douglas Theater, 2010
Variety, by Bob Verini
"The work is long but pacing within individual scenes is exquisite, and they're masterfully lit by Alexander Nichols, whose full-stage video projections (sound artfully staged by Cricket S. Myers) keep us oriented to the outside."

Backstage, by Les Spindle
"Director Leigh Silverman, aided by a superb design team, creates a potent and lively milieu for this thoughtful seriocomedy to play out."

ReviewPlays.com, by Cynthia Citron
"The production qualities are first-rate, however. David Korins has designed a fully functional East Village apartment, Alexander V. Nichols has organized the lighting and projection design superbly, and Cricket S. Myers has done her usual expert job on sound. "
Subject Was Roses Directed by Neil Pepe, Mark Taper Forum, 2010
Backstage, by Les Spindle
"The design elements—Walt Spangler's set, Laura Bauer's costumes, Rui Rita's lighting, Cricket S. Myers' sound, and Obadiah Eaves' original music—give this kitchen-sink drama an aura of crisp authenticity."
Haram Iran Directed by Michael Matthews, Celebration Theater, 2010
Variety, by Bob Verini
"Production values are solid, Cricket S. Myers' sound design combining with the actors' accents to create a believably exotic atmosphere."

LA Times, by David C. Nichols
"Where this harrowing narrative succeeds is in Matthews' restless yet focused direction, in tandem with Tim Swiss' stark lighting and Cricket S. Myers' best sound design, and the valiant cast."

LA Weekly, by Steven Leigh Morris
"This is a very adept and compelling production, ...it's directed by Michael Matthews on Kurt Boetcher's set of rolling chain-link panels with a kind of CSI sleekness. That may have been due to Cricket S. Myers' sound design of percussive ejaculations that amp up the melodrama."
The Unrequited (Between Two Worlds) Directed by Shishir Kurup, Cornerstone Theater Company, 2011
LA Weekly, by Rebecca Haithcoat
"Nice performances from Carrillo, Earl, Gant and Jai, and special nods to Meghan E. Healey's costumes and Cricket S. Myers' effectively eerie sound design."

Stage Happenings, by Leigh Kennicott
"The setting (designed by Nephelie Andonyadis), consisting of a floor-to-ceiling, découpage newspaper treatment, gives the feel of a living newspaper while the young actors (Hannah Marieh Diaz and Sacorra McGaughy) calling out the Times headlines sets the time and place. Costuming by Meghan E. Healey conveys the time period and Cricket S. Myers’ sound unites the whole."


Cousin Bette Directed by Jeanie Hackett, Antaeus Theater Company, 2010
*** Nominated for an Ovation Award, Sound Design in Intimate Theater, 2010
LA Times by David Nichols
"Director Jeannie Hackett fluidly steers the fluctuating morality, corruption and passion around designer Tom Buderwitz's multi-level set. A. Jeffrey Schoenberg's Napoleonic-era costumes, Leigh Allen's subtle lighting and Cricket S. Myers' Chopin-laden sound help sustain an aura of plush perversity."

StageHappenings.com, by Leigh Kennicott
"Hackett’s technical team helps to bring Cousin Bette compellingly to life. ... Cricket S. Myers’ sound design, however, is masterful. Utilizing Chopin’s compositions and excerpting out appropriate musical “stings” lends richness to the narrative and completes this unique experience."

Stagescenela, by Steven Stanley
"Finally, sound designer extraordinaire Cricket S. Myers has underscored the many plot twists and turns with a flawlessly selected medley of themes by Balzac contemporary Frédéric François Chopin."

LA Weekly, by Steven Leigh Morris
"Directed by Jeanie Hackett, the production purposefully underscores the source material's melodramatic elements; for example, heightening the narrative's key points with the melancholy refrains of Chopin."

LA Theater Review, by Steven Leigh Morris
"Amidst the Chopin score and beautifully versatile period set by Tom Buderwitz, a world of double-crossing, war economics, untimely death, and class consciousness is woven like the prop piece of lace- fifteen layers deep and spanning the entire proscenium."
Visiting Mr. Green Directed by David Rose, Colony Theater, Burbank, 2009
LA Times by David Nichols
"David Potts' scenic design has suitably neglected detail that dovetails with A. Jeffrey Schoenberg's realistic costumes, Jeremy Pivnick's concise lighting and Cricket S. Myers' expert sound."

Reviewplays.com by Cynthia Citron
"... it is tastefully staged by some of the best stage designers currently plying their trades in Los Angeles: David Potts on scenery, A. Jeffrey Schoenberg for costumes, Jeremy Pivnick on lighting, and Cricket S. Myers on sound."

StageSceneLA.com by Steven Stanley
"Sound designer Cricket S. Myers ties scenes together with some great New York jazz, as well as recreating the sounds an ancient apartment makes."
Life Could be a Dream Directed by Roger Bean, Hudson Theater Mainstage, 2009
LA Stage Blog, Connie Chats
"Producers David Elzer and Peter Schneider must have a special god in their corner who does sound design because musical balance and quality is excellent. Or, maybe it’s just the talent of Cricket S. Myers who also wore the sound hat for The Marvelous Wonderettes."

LA Times by F. Kathleen Foley
"Luke Moyer’s lighting adds extra oomph to the torch numbers, and Cricket S. Myers’ sound design is unobtrusively precise."

Backstage West by Les Spindle
"Lee Martino's showstopping choreography, Michael Paternostro's knockout music direction, and deliciously evocative design elements enhance the joys in this cotton-candy treat, which seems certain to duplicate the runaway success of "Wonderettes.""

StageHappenings.com by Robert Machray
"Tom Buderwitz has designed a perfect 50s wreck room set. Luke Moyer provides the very creative lighting Cricket Myers is responsible for the well-balanced sound design."

StageSceneLA.com by Steven Stanley
"Cricket S. Myers’ sound design is a faultless mix of prerecorded tracks and live voices (including occasional appearances by Denny’s mom on the intercom). "
Bengal Tiger at the Baghdad Zoo Directed by Moises Kaufamn, Kirk Douglas Theater, CTG, 2009
****Nominated for an OVATION AWARD, SOUND DESIGN 2009
Variety by Bob Verini
"And Cricket S. Myers masterfully integrates an array of sound effects with Kathryn Bostic's haunting snatches of melody."

Backstage by Dany Margolies
"Lighting designer David Lander creates beating sunlight and bloody shadows. Cricket S. Myers' sound design is clear yet allusive, with appropriately "haunting" music by Kathryn Bostic."

Reviewplays.com by Cynthia Citron
"And the action is augmented by Kathryn Bostic’s music, Cricket S. Myers’ war zone sound design, and the appropriate Iraqi and military costumes worn in Baghdad in 2003, put together by designer David Zinn."
Battle Hymn Directed by John Langes, Circle X Theater Company, 2009
****Nominated for an OVATION AWARD, SOUND DESIGN 2009
Variety
"Brian Sidney Bembridge's scorched-wood set fits the show wonderfully. His expert lighting and Cricket S. Myers' resonant sound design combine to create theater magic, from a traveling locomotive to a Civil War battlefield."

Curtain Up, by Cynthia Citron
"An original score by Michael A. Levine, sound design by Cricket Myers, lighting by Brian Sidney Bembridge and background projection design by Jason Thompson all contribute to the overall epic sweep of this magical saga."

StageHappenings.com, by Gina Shaffer
" Also contributing to the high-quality production values are Cricket S. Myers' sound design, Jen Kays’ scenic painting, and Dianne K. Graebner’s costume design. Original music by Michael A. Levine gently underscores the play's themes as Martha struggles to find a place for her child in a lamentably brutal world."


Mary's Wedding Directed by David Rose, Colony Theater, 2008
****Nominated for an OVATION AWARD, SOUND DESIGN 2009
Burbank Leader, by Lisa Dupuy
"Besides the actors, the real stars of the show are the sound and lighting designers, Cricket Myers and Jeremy Pivnick. Under David Rose’s capable direction, the interplay of words, sounds (such as thunder and gunfire) and lighting effects (such as lightning) are choreographed to perfection, creating a surprisingly realistic battlefield, storm, tea party or whatever setting they choose."

CurtainUp.com, by Laura Hitchcock
"Cricket S. Myers' sound design brings especial brilliance to the battleground and horse riding scenes. David Potts has created an abstract metal set, in which revolving parts serve many purposes, not the least of which is reinforcing the play's locale as a dream."

StageSceneLA.com, by Steven Stanley
"Mary’s Wedding benefits enormously from the contributions of its design team, most notably David Potts (scenic design), Jeremy Pivnick (lighting design), and Cricket S. Myers (sound design). ... Myers’ sound design surrounds us with thunder and wind and artillery fire."

Saturday Night at the Palace Directed by Damaso Rodrigez, The Furious Theater Company, 2008
The Los Angeles Times, by Charlotte Stoudt
"The design elements, especially Cricket S. Myers' relentlessly percussive sound, create an atmosphere of exhaustion bordering on delirium. "

Trying, Directed by Cameron Watson, The Colony Theater, 2007
****Nominated for an OVATION AWARD, SOUND DESIGN 2007
The Los Angeles Times, by K. Kathleen Foley
"Watson's faultless staging is augmented by sound technical elements -- Victoria Profitt's handsome and cozy set, Cricket Myers' subtle sound and Jared A. Sayeg's virtuosic lighting design, which perfectly evokes the separate seasons of Biddle's final year. "

Backstage West, by Madeleine Shaner
"Cameron Watson's sure direction shows a loving hand; everything good is enhanced by Victoria Profitt's superlative loft-office design, Jared Sayeg's lighting, and Cricket Myers' sound design. "

Show Magazine by Melinda Schupmann
"Director Cameron Watson’s understanding of these characters makes the performance riveting, humorous, and completely without artifice. It is hard to imagine a better team to bring this impressive play to life. Skilled as always, Victoria Profitt’s beautifully articulated set creates a perfect backdrop for the garage office of Judge Biddle. Jared Sayeg’s lighting and Cricket Myers’ sound designs compliment Profitt’s work."

Reviewplays.com by Cynthia Citron
"Moreover, they are blessed with a remarkably fine set designed by Victoria Profitt.  The other designers are equally adept: A. Jeffrey Schoenberg on costumes, Jared Sayeg on lighting, and Cricket Myers on sound. "

Sissystrada, Directed by Michael Matthews, Celebration Theater, 2008
StageSceneLA, by Stephen Stanley
"...and Cricket S. Myers’ sound design once again proves why she is so deservedly in demand in this town. "


Stupid Kids Directed by Michael Matthews, The Celebration Theater, 2008
The Los Angeles Times, by David Nichols
"Director Michael Matthews elevates Russell's geek fantasy, probing its ritual surface to find the truth in its precocity, aided by Marvin Tunney's choreography, Tim Swiss' lighting, Marjorie Lockwood's costumes and a soundtrack by Cricket S. Myers and composer Ron Poulson."

Assassins, Directed by Richard Israel, West Coast Ensemble, 2008
Backstage West, by Wenzel Jones
"Sometimes there's such consistency in a show it's difficult to know just what to say other than, "Gee, that was good, all of it." Lights (Lisa D. Katz) and sound (Cricket S. Myers) are spot-on. "

StageSceneLA, by Stephen Stanley
" Cricket S. Myers’ sound design is her usual fine work, one particularly memorable example being the subtle sounds of night driving accompanying Byck’s behind the wheel anti-Nixon rant."


Marvelous Wonderettes Directed by Roger Bean, The Laguna Playhouse, 2008
The Los Angeles Times, by David C. Nichols
"Our first sight of Michael Carnahan's superb set -- a forced-perspective gymnasium complete with water fountains, crepe-papered girders and Springfield Chipmunk banners -- elicits a grin. Jeremy Pivnick lights it with candied expertise, and Cricket Myers' sound design keeps the canned accompaniment from distracting."

Saturday Night at the Palace Directed by Damaso Rodrigez, The Furious Theater Company, 2008
The Los Angeles Times, by Charlotte Stoudt
"The design elements, especially Cricket S. Myers' relentlessly percussive sound, create an atmosphere of exhaustion bordering on delirium. "

Stupid Kids Directed by Michael Matthews, The Celebration Theater, 2008
The Los Angeles Times, by David Nichols
"Director Michael Matthews elevates Russell's geek fantasy, probing its ritual surface to find the truth in its precocity, aided by Marvin Tunney's choreography, Tim Swiss' lighting, Marjorie Lockwood's costumes and a soundtrack by Cricket S. Myers and composer Ron Poulson."

1776 Directed by Richard Israel, The Actor's Co-op, 2008
The Los Angeles Times, by David Nichols
" A. Jeffrey Schoenberg's gorgeous costumes denote class distinctions, beautifully lighted by Lisa D. Katz, and the ubiquitous Cricket S. Myers provides crucial sound effects."

Prove it on Me, Directed by Kelly Ford, Stella Adler Theater, 2007
Entertainment Today, by Travis Michael Holder
"Beyond everything Prove It On Me has going for it, however, and with huge kudos to the show’s designers at the top of the list, ... This is not to say Prove It On Me doesn’t honestly, even as presented here, have a lot going for it, with Lisa D. Katz’ moody lighting, Cricket Myers’ precision sound design and, especially, Sharell Martin’s wonderfully shimmering and perfectly period-accented costuming..."


Trying, Directed by Cameron Watson, The Colony Theater, 2007
****Nominated for an OVATION AWARD, SOUND DESIGN 2007
The Los Angeles Times, by K. Kathleen Foley
"Watson's faultless staging is augmented by sound technical elements -- Victoria Profitt's handsome and cozy set, Cricket Myers' subtle sound and Jared A. Sayeg's virtuosic lighting design, which perfectly evokes the separate seasons of Biddle's final year. "

Backstage West, by Madeleine Shaner
"Cameron Watson's sure direction shows a loving hand; everything good is enhanced by Victoria Profitt's superlative loft-office design, Jared Sayeg's lighting, and Cricket Myers' sound design. "

Show Magazine by Melinda Schupmann
"Director Cameron Watson’s understanding of these characters makes the performance riveting, humorous, and completely without artifice. It is hard to imagine a better team to bring this impressive play to life. Skilled as always, Victoria Profitt’s beautifully articulated set creates a perfect backdrop for the garage office of Judge Biddle. Jared Sayeg’s lighting and Cricket Myers’ sound designs compliment Profitt’s work."

Reviewplays.com by Cynthia Citron
"Moreover, they are blessed with a remarkably fine set designed by Victoria Profitt.  The other designers are equally adept: A. Jeffrey Schoenberg on costumes, Jared Sayeg on lighting, and Cricket Myers on sound. "


Walkin' Thru the Fire, Directed by Che' Rae Adams, The Hayworth Theater, 2007
The Los Angeles Times, David Nichols
"The production is clearly a labor of love, with glossy contributions by J. Kent Inasy (lighting) and Cricket S. Myers (sound), and it carries an engaging authority that trumps some self-indulgent patches."

Backstage West, Neal Weaver
"The elegantly sparse set by Sara Ryung Clement, lighting design by J. Kent Inasy, and sound design by Cricket S. Myers combine to produce rich theatrical imagery."
Impending Rupture of the Belly, Directed by Damaso Rodriguez, The Furious Theater Company, 2007
Backstage West, Les Spindle
"The milieu is spellbinding: the unnerving noises of honking horns and barking dogs emanating from Cricket S. Myers' fine soundtrack, the congested landscape of skeletal homes in Dan Jenkins' inspired scenic design, and the unnerving mood shifts in Christie Wright's fabulous lighting design."

LA Times, Calender Live, F. Kathleen Foley
"Dan Jenkins' appropriately totalitarian scenic design resembles cinder blocks, set off by metaphoric splashes of red. Christie Wright's minatory lighting and Cricket S. Myers' strident sound complete the striking picture of a Pasadena neigh-borhood as a suburban war zone."

LA Weekly, Steven Mikulan
"Scenic designer Dan Jenkins’ waffle-board cutouts of city buildings, Cricket Myers’ thunderous sound design and Christie Wright’s ominous lighting all combine to create a diorama of dread."

Variety, Terry Morgan
"No one is credited for the choice of music that roars between each scene, but the use of such bands as Fear and Morphine to create a jarring, dissonant vibe is bluntly effective."
Beautiful Thing, Directed by Michael Matthews, The Celebration Theater, 2007
Variety, Bob Verini
"An array of nonstop sound effects assembled by Cricket S. Myers helps to evoke London's Thamesmead, one of those housing developments in cities worldwide whose very silhouette exudes hopelessness. "
The Bacchae, Directed by Michael Matthews, The Celebration Theater, 2007
****Nominated for an OVATION AWARD, SOUND DESIGN 2007
Backstage West
"The sound design (Cricket Myers), which features the music of Ryan Poulson, is almost a character unto itself. Myers creates the sort of aural background that demands to be noticed but never distracts from the central work. "

The Los Angeles Times, Calander Live
"Upon entering the venue, which set designer Kurt Boetcher covers with graffiti and foliage, audiences may wonder if they've stumbled into a rave. That is the intent, from the first metallic slash over the sound system to the last flash-lighted incantation....Marjorie Baer's costumes, Tim Swiss' lighting, Cricket Myers' sound and Ryan Poulson's original music are all lean and evocative."
Orestes Remembered: The Fury Project, Directed by Kathrine Noon, Ghost Road Theater Company, 2007
LA Weekly
"Maureen Weiss’ fold-out ramshackle-house set comes packed with metaphors, Cricket Myers’ sound design rumbles and explodes with both latent menace and shock. "
Iphigenia Crash Lands Falls on a Neon Shell that was Once Her Heart, Directed by Matthew McCray, Son of Semele, 2006 ***Nominated for an LA WEEKLY THEATER AWARD 2006 Sound Design and Production Design
LA Weekly
"John Eckert’s lighting design and Cricket S. Myers’ sound design underscore the building menace, and Ryan Poulson’s original music also deserves kudos. "
Marvelous Wonderettes Directed by Rodger Bean, El Portal Forum Theater, N. Hollywood, 2006
Los Angeles Times, Calander Live
"Bean's adroit staging, the quartet's exceptional vocal and physical finesse, the dynamics of Brian Baker's orchestrations, Allen Everman II's musical direction and Cricket S. Myers' pristine sound, make every moment — comic and musical — count."
I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda, Directed by David Rose, The Colony Theater, Burbank, 2006
www.variety.com
"A. Jeffrey Schoenberg's costumes, however, add a sense of authenticity to the proceedings, and Cricket Myers' sound design is low-key and effective. "
A Vast Wreck, Directed by Dara Weinburg, Theatre of NOTE, Hollywood, 2006
www.Laist.com
"The sound world designed by Cricket Myers is fast paced, consistent with themes, and, at times, feels like a soundtrack from a Tony Scott (Domino) thriller. "


Floyd Collins, Directed by Richard Israel, West Coast Ensemble, Hollywood, 2005
*** WON A 2005 LA DRAMA CRITIC CIRCLE AWARD FOR SOUND DESIGN
www.Theatermania.com
"Evan A. Bartoletti's lovely slatted set creates a nice mining ambiance, and Cricket S. Myers' satisfying sound design adds to the effect with plenty of warning rumbles and endless echoes. (The latter are an integral part of "The Call," in which Floyd discovers the enormous cavern that he believes will bring him glory and financial security.)"


King Cat Calico Finally Flies Free Directed by Edgar Landa, Son of Semele, Silverlake, 2006
Los Angeles Times
"Under Edgar Landa's agile direction, the designs are sharp, with Cricket Myers' soundtrack outstanding. The feral, funny cast ingests the contrasts in tone like tuna. All the actors-as-kitties in designer Reagan's costumes are delightful, arching and spitting with perverse glee."


Where's my Money, Directed by Rick Sparks, Hudon Guild Theatre, Hollywood, 2005
www.varitey.com
"Shannon Scrofano's set makes good use of the small space, and director Sparks combines Jeremy Pivnick's evocative lighting and Cricket Myers' crisp sound to create viable settings from very little."


Bent, Directed by Claudia Jaffee, Deaf West Theatre, N. Hollywood, 2005
www.reviewplays.com
"Credit Diana Mann for period costuming and Cricket Myers for intriguing sound effects that become horrifying by play’s end. "


Kookamonga Falls, Sacred Fools, Directed by David MacIntyre, Hollywood, 2005
www.laweekly.com
"Director David LM McIntyre directs Todd Miller’s ’50s B-movie parody with stylish, noir theatricality ... enhanced by Hope Alexander’s vivacious costumes and Cricket S. Myers’ resonant sound design. "