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Jessica Paz’s sound design and Bray Poor’s soundscapes add immeasurably to the feeling that the story is not unspooling in some dim past but in Central Park tonight. New York Times Review; Julius Caesar, The Delacorte Theater 2017

 

The atmosphere was created not only by the artistry of Jessica Paz’s excellent sound design, by David Rockwell’s flexibly rotating scene flats, and by the very topical costumes of Paul Tazewell, but also by unbilled Mother Nature, who joined the stagehands in shipping in clouds and breezes that kept everything in the moment. Lighting and sound made a great contribution, as well. DC Metro Theater Arts Review; Julius Caesar, The Delacorte Theater 2017

 

Jessica Paz’s sound design augments the mob, with the sound of cheers and jeers penetrating the theater as if there were a giant demonstration on the great lawn. Theatermania Review; Julius Caesar, The Delacorte Theater 2017

 

Marina Draghici’s costume and set design is wonderful, as is Jessica Paz’s sound design and Michael Korsch’s dramatic lighting. Directed by Maija Garcia, who has also devised additional choreography to that of Bill T. Jones’ original work, Fela! The Concert is awash with sound, rhythm, movement, vibrant colour and at times, mass audience participation. Stage Whispers Review; FELA: The Concert, Adelaide Theater Festival 2015

 

The sound designer Jessica Paz even worked in snippets of music to accompany the mayhem, and the crazier it got on stage, the more the audience ate it up. Comedy is rarely this well done, or so delicious to watch. Berkshire On Stage Review; See How They Run, Barrington Stage 2012

 

Further Jessica Paz’s sound design gently backs all of the action with the thump-thump of bass from the reunion dance that’s happening elsewhere in the school. American Theater Web Review; The Muscles in our Toes, LAByrinth Theater Company 2014

 

THE MUSCLES IN OUR TOES, at the Labyrinth Theatre, a high school class that graduated in 1989 is having its reunion but it’s in the actual school itself, city not specified; this allows the playwright to set his scene in the music room, where the chief characters, escaping the festivities, randomly gather to work out their issues. The music from the affair is heard dimly in the background and, when the door to the room opens, it gets much louder (thanks to Jessica Paz’s good sound design), so we’re always aware of the events going on offstage. slleiter.blogspot Review; The Muscles in our Toes, LAByrinth Theater Company 2014

 

Sound designer Jessica Paz creates a vivid template with microphones: When Woods slides into the past, where she talks to us directly, there’s a faint echo to her voice, and when she’s wandering through a dream sequence, her words boom.  Variety review; Stretch: A fantasia, The Living Theater 2008