I’ve been harboring the speculation for some time now that we’re in a golden age of theatre design. What gives me that idea? There’s a
moment I distinctly remember, for example, in director Lou Jacob’s modestly conceived Off-Broadway production of Sam Shepard’s The God
of Hell a few years ago when Randy Quaid, playing a good-natured Midwestern galoot, swung open the front door of the shabby farmhouse
David Korins had designed to perfection to represent incipient heartland Republicanism, and we in the audience could hear the ambient
sound of the windswept prairie rush into the room. For me, that sound cue, at once scrupulously naturalistic and ominously symbolic—it was
created, along with original music, by an artist named Lindsay Jones—did as much to drive home Shepard’s point about a runaway
government’s Orwellian threats to American hearths and homes as did the script or the performances. Jim O’Quinn, Editor-In-Chief - American Theater Magazine
The Brother/Sister Plays Part 1 & Part 2 - The Public Theatre, NYC
All three productions have been designed by the same team — Lindsay Jones (sound) — with a sophisticated simplicity that makes it clear that Mr. McCraney’s words are the main scenic attraction. NYTimes - Ben Brantley
Kudos to sound designer Lindsay Jones and scenic designer James Schuette, who make the dream sequences even more powerful. MyCentralJersey.com - Bill Canacci
The various technical aspects, especially the lighting and sound design (great work by Peter Kaczorowski and Lindsay Jones, respectively), help to create the feeling of two different realms existing side by side. Epoch Times - Judd Hollander
Richard III - Chicago Shakespeare Theatre, Chicago, IL
This one features a fresh and arresting original rock soundtrack from the great Lindsay Jones. Chicago Tribune - Chris Jones
The lighting by Robert Wierzel and the sound and music by Lindsay Jones all add to this production's impact on the audience. Spreadstyle Chicago - Alan Bresloff
Lindsay Jones the sound and original music that effectively bring a heavy metal rock sound to mirror the turbulence on stage. Chicago Theatre Reviews - Dan Zeff
K of D - Route 66, Chicago IL
Given the quality of Whiteside’s performance, the show should work better than it does, especially in the perfectly intimate setting afforded by A Red Orchid Theatre, and with the addition of various disturbing sounds created by the brilliant designer Lindsay Jones. Chicago Tribune - Chris Jones
Brilliant sound effects by Lindsay Jones. Chicago Sun Times - Hedy Weiss
A mysterious heron seems to have taken on the spirit of the dead boy, and the beating of its wings is dreadful and foreboding, thanks to Lindsay Jones' remarkable sound design. Talkin' Broadway - John Olsen
My hat goes off to Sound Designer Lindsay Jones for creating a sound scape, which served as another character in the play. Chicago Critic - Chris Arnold
Designer Lindsay Jones handles the quirks and potential dead spots, of what is essentially a large museum room, with ease.
What Jones does with his other assignment is as impressive. Most sound effects are unexpected (only in hindsight does the dog’s random bark occur at the perfect moment). In Opus, you can see Jones’s coming. At various times, the quartet reaches for the two violins, viola, and cello. In the symphonic equivalent of “air guitar,” the actors fake playing them. They slide the bows with verisimilitude but don’t attempt the fingerings, say, for Beethoven’s Opus 131 (another telltale sign: there’s no rosin on the music stands). At the precise moment when the bows hit the strings — and after a while you’ll find yourself inspecting each touch for the slightest infraction — the music begins. Sights and sounds fuse.
Jones has the “performed” music emerge, it would seem, from the instruments themselves. Sometimes he moves the music from the stage to speakers behind the audience: it drifts up and then out, as if, in the case of the Beethoven, it’s headed home to heaven. San Diego Reader - Jeff Smith
Yeast Nation - American Theatre Company, Chicago, IL
Lindsay Jones is the sound designer and Mark Elliott directs the outstanding combo that provides the accompaniment for the rocking score. Chicagoland Theatre Reviews - Dan Zeff
On the Verge - Remy Bumppo Theatre Company, Chicago, IL
Lindsay Jones’s sound and original music are inventive and dramatic. Chicagoland Theatre Reviews - Dan Zeff
1001 - Page 73 Productions, NYC, NY
Lindsay Jones' sound design includes a myriad of effects, including one of the most upsetting explosions I've ever heard in the theatre. Lighting & Sound America
With a guitar power chord and pulsing house music, the atmosphere is ionically charged by Lindsay Jones. Hartford Courant
The Tempest - Folger Theatre, Washington, DC
The opening tempest is plenty impressive—but the best bit comes when sound designer Lindsay Jones sends the voice of the storm-conjuring sprite Ariel chasing itself through the nooks and crannies of the Folger’s courtyard-style Elizabethan theater. That’s probably an apt metaphor for the show as a whole: it’s thoughtful and polished and handsome. City Paper (Washington DC)
Bright Ideas - Avery Schrieber Theater, Los Angeles, CA
Lindsay Jones' sound design, made up of various recognizable childhood songs, is an ingenious segue device. This small but mighty company has created theatrical magic. Backstage
The Merchant Of Venice - Chicago Shakespeare, Chicago, IL
Mr. Nussbaum's performance is unforgettable in its deadly precision, but it isn't the only memorable thing about this Merchant. Several of Chicago's best actors are in equally fine form, and Lindsay Jones, the sound designer, accompanies them with a hair-raising score; made up of electronically distorted gongs and chimes. Wall Street Journal
Macbeth - American Players Theatre, Spring Green, WI
Flung on a near-bare stage, acted at a gallop and accompanied by the brilliantly calculated music and sound effects of Lindsay Jones, Ms. Buckley's Macbeth is what I might call “Broadway-quality”; if I'd seen a Broadway revival lately that was half so good. Terry Teachout, Wall Street Journal
Nickel And Dimed, State Theater Company, Austin, TX
An impressive soundtrack composed by Lindsay Jones. Austinist
Kid Simple, American Theater Company, Chicago, IL
But the show also is worth catching for its wizardly special effects alone. Sound maestro Lindsay Jones has worked endless wonders. Chicago Sun-Times
Kid Simple is technically ingenious. It’s the kind of sound design (by Lindsay Jones) that makes you gasp in surprise and gaze in near childlike wonderment at the innovation that it must have taken to bring it to theatrical life. Windy City Times
The God Of Hell - Actors Studio Theatre, NYC
Even before the show begins, its well-scrubbed farmhouse set, designed by David Korins, immediately signals that you're in Sam Shepard country. It's as cozy as auntie's patchwork quilt, but certain details seem slightly askew - like the jungle of house plants and that constant dripping sound. The introductory music, a slow and rhythmically lopsided reel for fiddle by Lindsay Jones, projects the same ominous inklings of the traditional being derailed. New York Times
Julius Caesar - People’s Light And Theatre, Philadelphia, PA
With Lindsay Jones' electrifying sound and original music, this is 21st-century Shakespeare. Loud, electric, provocative and theatrical, it brings all the excitement of the world's greatest playwright to life without any of the accompanying soberness that typically makes younger audiences slink from the theater in a stupor. Philadelphia Weekly
Best sound design of the year. Philadelphia Weekly
The original music and sound by Lindsay Jones are another highlight and help to move and pace the show. Resembling not so much incidental music but Surround-a-sound that you hear at the Multiplex Movie Theater, the heavy drums and loud thunderous crowd noises get you right in the pit of the stomach. And it's a rush. This is not for the faint of heart because (as Christopher Guest says in "This is Spinal Tap") it's cranked up to "11". I simply wanted more of Mr. Jones's exciting, "take no prisoners" compositions. Aisle Say
It begins thrillingly: The Roman crowd, waiting for Julius Caesar, sounds like it’s waiting for a rock star (the sound design by Lindsay Jones is a knockout throughout). And, without compromising the seriousness or the complexity of Shakespeare’s troubling power play, this energetic, imaginative production, directed by Lou Jacob, remains thrilling to the end. City Paper (Philadelphia)
Here's a nod for sound designer Lindsay Jones, whose pre-show announcement about cellphones and cameras has been converted into a faux-'40s radio sketch that's funnier than anything in the play itself. Los Angeles Times
The Trestle At Pope Lick Creek - Rivendell Theatre Ensemble, Chicago, IL
Lindsay Jones’ original music and sound design has the capacity to shatter and soothe. chicagotheatre.com
But look for Lindsay Jones' sound design to take the awards, not only for the freight train that thunders overhead (dwarfing the incidental noise of the Ravenswood El train outside the Breadline playhouse), but for the custom-recorded score featuring Jane Baxter Miller on mournful Appalachian vocals. Windy City Times
Lindsay Jones' sound and musical compositions add aural depth to transitions and cast a perfect mood. Windy City Times
Its production by Rivendell Theatre could not be more superb--from its diamond-hard and poetic direction to its remarkable cast, to its heart-stopping sound design by Lindsay Jones. Chicago Sun-Times
Sound designer Lindsay Jones pumps up the volume for the roar of the train and a percussive movie background score. Chicago Tribune
Buckets Of Beckett - Splinter Group, Chicago, IL
…punctuated by Lindsay Jones' energetic rubber band-evocative score. Artscope
Closet Land - New York Performance Works, NYC, NY
The techno-wizardly sound design by Lindsay Jones contributes much to the effectiveness of the production. Backstage
Below The Belt - American Theater Company, Chicago, IL
Another offstage star of the show is Lindsay Jones, the production's sound designer. Using amplified typewriter noises, the blare of a siren and the weird, unearthly growlings of the strange animals that are supposed to be out there infiltrating the industrial compound, he amplifies and immeasurably adds to the enjoyment of the play. Richard Christiansen, Chicago Tribune
