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| Cricket S. Myers |
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Cricket is a Los Angeles based Sound Designer. Cricket was nominated for 4 Ovation Awards in 2009, bringing the total Nominations to 10. The nominations include for Large Theater: The Little Dog Laughed, Bengal Tiger at the Baghdad Zoo, Mary's Wedding, Trying, Norman's Ark, Picasso at the Lapin Agile and Emergency and in Intimate Theater: Battle Hymn, dark play or stories for boys, and The Bachae. Cricket has been named Sound Designer of the Year mulitple times by StageSceneLA. Cricket was a finalist for the 2005 TCG/NEA Career Development Grant, and in 2003 won the USITT Young Designers Clear-Com Award for Sound design. See a complete list of awards here. Cricket received her MFA in Sound Design from California Institute of the Arts in 2003, and was named a "Young Designer to Watch" in Live Design Magazine's April 2007 Issue, and was recognized as "An Artist To Watch" by LA Stage Magazine in September of 2007. Cricket was the Resident Sound Designer for the Celebration Theater from 2005-2008, and the Resident Assistant Sound Designer at the Mark Taper Forum for 3 years.
A Few Reviews: 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." Cousin Bette Directed by Jeanie Hackett, Antaeus Theater Company, 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 StageHappenings.com, by Gina Shaffer 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. " |
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