Select Awards
Nominated for a Tony Award Bengal Tiger at the Baghdad Zoo, Richard Rogers Theater, NYC
Received a Drama Desk Award Bengal Tiger at the Baghdad Zoo, Richard Rogers Theater, NYC
Received the Ruth Morley Award from the League of Professional Theater Women, 2018
Nominated for 17 Ovation Awards in Large Theater
Nominated for 7 Ovation Awards in Intimate Theater
Won the LADCC Kinetic Award for Outstanding Achievement in Theatrical Design
Won a LADCC for Sound Design, Floyd Collins, West Coast Ensemble
Recognized as an "Artist to Watch" by LA Stage Magazine
Recognized as a "Young Designer to Watch" by Live Design Magazine, April 2007
Finalist for the TCG/NEA Career Development Grant for Designers
Winner of the 2003 USITT Clear-Com Award for Achievement in Sound Design
Select Reviews
Director Michael Matthews brings the play to life effectively, creating a very real world for the characters to inhabit. Cricket S. Myers' sound design is particularly strong, blending in seamlessly with the physical world of the theater and the world of the play.
Peitras’s set is but one element in one of the year’s most striking, imaginative production designs, highlighted by Cricket S. Myer’s multi-ingredient sound mix which heighten the chill factor at every twist and turn, and by Tim Swiss’s dramatic lighting which, not surprisingly, makes apt and ample use of the color red.
Cold and hard is the theme of the evening, echoed throughout every aspect of the design. Maureen Weiss’ set is constructed of wooden pallets, painted white and embellished with foreboding cracks and holes. Cricket S. Myers sound design employs an incessant howling wind, crunching snow, and gunshots that reverberate through the space.
Director Moises Kaufman has concentrated on the conflicted humanness of it all, giving the entire play an intimacy even in the comparative openness of Beowulf Boritt’s elemental, implied sets (his “electrified fence” proves particularly effective). Sound designer Cricket S. Myers deserves special kudos for the subtextual hummings which flavor important moments of the text, as do Justin Townsend’s increasingly harsh lighting motifs.
The technical team is a wonder: ... the ubiquitous sound designer Cricket S. Myers is deservedly given her chance to shine – her use of directional sound (the radio, a passing car) is the best in the theatre; "
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.