"Scenes from an Execution" opens to great reviews

Scenes from an Execution, produced by Potomac Theater Project and being performed at Atlantic Stage 2, opened to great acclaim.  It is my third season with the company.

The sound design on this show covers a lot of bases: integrated prerecorded music with dialogue, live mics to create environmental sound and lots of sound effects. With all these obstacles and needs, it was important to incorporate the values I utilize on a lot of my projects: music must be original and have beginning middle and ends (no fade outs) while not adding time to the show; Have the live sound environments suggest where we are without dominating or getting in the way of the scenes and to get the most out of the special effects - be it a subtle gust or a calamitous crash.

Below are links and blurbs from some notable reviews.


Richard Romagnoli’s production — designed with evocative, era-straddling minimalism by Hallie Zieselman (set), Mark Evancho (lighting), Jule Emerson and Mira Veikley (costumes) and Cormac Bluestone (the crucial sound design) — expertly balances these perspectives.
— Ben Brantley, The New York Times

The ease of Cormac Bluestone’s sound design was faultless. Bluestone’s work with space was dynamic, allowing you to feel as if Galactia were actually in a giant room. It was a welcome touch.
— Michael Black, Theater In The Now

Cormac Bluestone’s sound design, Mark Evancho’s lighting and Jule Emerson and Mira Veikley costume design all set the perfect mood.
— Suzanna Bowling, Times Square Chronicles

And for a small production of a major play, much consideration has been given to the lighting design (Mark Evancho) and the sound design (Cormac Bluestone)
— Howard Miller, Off Broadway