In 2011, Cricket received a Drama Desk Award and a Tony Nomination for her design of Bengal Tiger at the Baghdad Zoo.
Cricket was nominated for 3 Ovation Awards in 2010, bringing the total Nominations to 13. The nominations include for Large Theater: The Lieutenant of Inishmore, The Little Dog Laughed, Bengal Tiger at the Baghdad Zoo, Grace and Glorie, Mary's Wedding, Trying, Norman's Ark, Picasso at the Lapin Agile and Emergency and in Intimate Theater: Cousin Bette, 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.
Bengal Tiger at the Baghdad Zoo Directed by Moises Kauffman, Richard Rogers Theater, 2011
***Nominated for a Tony Award, Best Sound Design for a Play, and recieved a Drama Desk Award for Outstanding Sound
AP News, by Mark Kennedy
"Set designer Derek McLane presents haunting topiaries of a giraffe, horse and elephant. The hubbub of Baghdad streets and overlapping calls to prayer seep from the production courtesy of Cricket S. Myers and Acme Sound Partners."
Live Design Magazine, by Robert Cashill
"Winning Drama Desk awards for sound and lighting, respectively, were Acme Sound Partners and Cricket S. Myers and David Lander, who are nominated for Tonys besides. The abundant and doomy soundscape, shot through with hip-hop and Kathryn Bostic’s score, is perfectly matched to Lander’s multifaceted lighting. Light and audio tear through and reverberate around Derek McLane’s evocative set, an imposing door of Islamic design that opens onto those striking topiaries..."
Intermission Magazine, by Deirdre Donovan
"Cricket S. Myers’ sound and Kathryn Bostic’s music create just the right exotic atmosphere without being the least bit melodramatic."
Bargain and the Butterfly Directed by Kathrine Noon, Ghost Road Theater, 2013
Broadway World, by Ellen Dostal
"Cricket S. Myers' sound design breathes subtly in the background - drops of water, the ticking of time passing, the shatter of dreams made physical in blunt abstractions that create art in and of themselves as their presence lingers in the air. These are moments that live long after the show has ended and the audience steps back into the insidious reality of everyday sameness."
"Ghost Road artistic director Katharine Noon's portrait of the latter-day Promethean creator as a psychologically tortured young woman benefits from a uniformly very good cast and stellar sound, light and stage design by the team of Cricket S. Myers, Clark, and Maureen Weiss. "
Wolves Directed by Michael Matthews, Celebration Theater, 2013
Neon Tommy, by Katie Buenneke
"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."
The Edge, Los Angeles, by Les Spindle
"Matthews expertly guides the actors through the story’s twists and turns and skillfully orchestrates the efforts of a fine design team for maximum atmospherics and chills, "
StageSceneLA, by Steven Stanley
"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. "
Trip to Bountiful Directed by Martin Benson, South Coast Rep, 2011
Los Angeles Times, by F. Kathleen Foley
"Thomas Buderwitz's versatile sets span the gamut from a claustrophobic city apartment to an abandoned farmhouse that could have been lifted out of an Andrew Wyeth painting. From urban blare to country chirping, Cricket S. Myers' sound is essential to the ambience. "
Stage and Cinema, by Tony Frankel
"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; "
Stranger Things Directed by Ronnie Clark, Atwater Theater, Ghost Road Company, 2011
Compositions on Theater, by Sarah Taylor Ellis
"But many moments are positively chilling – and the immersive soundscape holds the audience captive for the duration of this spectacularly layered tale. David O has crafted sparse and spectral underscoring, in addition to a hauntingly simple waltz and a few piercing songs. The songs are fragmentary and Brechtian, cold and isolated, like the frigid environment in which the play is set.... His underscoring sweeps seamlessly into Cricket S. Myers’ soundscape of whirling winds, haunting whispers, and gasping breaths that still echo in my head today. The creaking boards of Maureen Weiss’ set, the crisp flip of a page of sheet music, Helga’s stilted and unaffected speech … sound is style and substance in this show. Are you listening?"
Backstage Magazine, by David C. Nichols
"It certainly looks and feels compelling, from designer Maureen Weiss' whitewashed, plank-heavy, skeletal set and striking projections—under Chris Wojcieszyn's film-noir-evocative lighting—to Cricket S. Myers' complex sound design. David O's original music, performed by him at the piano, promises much in the way of anachronistic oddness and frissons."
Stage and Cinema, by Kat Michels
"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. "
LA Weekly, by Mayank Keshaviah
"The proper ambience is achieved by David O's piano tremolos and Cricket S. Myers' barren "windscape" punctuated by reverberating chords. "