Sometimes sound and music gets mentioned in a review.
Not so often, but I'm happy when someone notices!
Here's what some reviews have said about my work...
Composer for Autumn Salon at Olli Studio in New York City
November 2017
Ann Warren contributed a duet for C Trumpet and trombone called Autumn Leaves. The title refers to using Crayola crayons to depict seasonal multi-hued foliage, not the jazz standard. Getting to digest the autumnal timbres is not an every day experience; this treat only happens once a year, and a sonic morsel of this rarity has a particularly stunning flavor. Thanks to Jacob Elkin and Kate Amrine for delightfully interpreting these fall fantasies. (Joshua Ox, SoundWordSight Art Magazine)
Composer & Sound Designer for Fortune’s Child at Theater Project, Baltimore, MD
AEA Members Project in Baltimore, January 2015
Written by Mark Sharf. Directed by Yvonne Erickson
The set is suggestive rather than fully representational, and is enhanced by ...a highly detailed soundtrack by composer and sound designer Ann Warren. The soundtrack is as rich as the set is sketchy: it creates weather, an additional character and horses on a horseback trail, among other, more prosaic, phenomena. The ...soundtrack permits the black box area of Theatre Project's stage to be cemetery, home, yard, Ireland, New Zealand and Hawaii. (Cybele Pomeroy, Broadway World)
...the sound design by Ann Warren worked well in the acoustic dome, the largest in Baltimore area theaters. (Carolyn Kelemen, DC Metro Arts)
One of the most memorable figures in the play is never seen. When Susan visits her aged mother, we don't see the woman, only the back of a wing chair. And what we hear in response to Susan's questions is a not speech, but a kind of sing-song... It's a wonderful touch. (Tim Smith, The Baltimore Sun)
...the wonderfully detailed sound design by Ann Warren creates the scenes very effectively with the few set pieces and props. The audience is transported from a dining room or a rainy cemetery to the shores of Ireland, the Alps of New Zealand and a beach in Hawaii – and back again. (Lynne Menefee, Maryland Theatre Guide)
Sound Designer Ann Warren adds the soundscape for these getaway destinations, completing the effect, although her wild Irish coast shoreline underscored sounds are identical to the tropical tranquility of Hawaii. Warren composes original music that introduces scenes and fills them out as they draw to a close with an emotional ease. These compositions are like shadows to Scharf’s words, mimicking the motion of the scene they are preceding. (Amanda N. Gunther, Theatre Bloom Baltimore).
Sound Designer for The Price at Curtain Call Theatre, Latham, NY
Curtain Call, April – May 2014
Written by Arthur Miller. Directed by Bruce Brown.
The technical aspects of this production are first-rate, .... (and) the provocative sound design by Ann Warren. The open window upstage lets in the sounds of the city, reminding us that these personal events are happening in real time while the rest of the world goes by — nice touch. (Paul Lamar, Schenectady Daily Gazette).
Sound Designer for A Young Lady of Property at Rep Stage, Columbia, MD
Rep Stage, June – September 2013
Written by Horton Foote. Directed by Michael Stebbins.
A sound design by Ann Warren calls to mind summer nights on your grandparents’ porch swing, listening to bullfrogs croak (or as we used to say in my family, listening to the corn grow). (Rebecca Wyrick, Maryland Theatre Guide).
This production also does Foote's play justice in its nostalgic evocation of an earlier time in American life. The ...sound by Ann Warren (is) not overly detailed or fancy, but their very spareness places the emphasis on characters aching to express themselves. (Mike Giuliano, Baltimore Sun).
The sound design of Ann Warren goes the extra mile with the fluttering ambient sounds of rubbing crickets, and the multiple varieties of mockingbirds sounds. Also, the left to right wrap around sound of the moving train in one scene was an aural delight. (Sydney-Chanele Dawkins, DC Metro Theater Arts).
Composer/Sound Design for Mary Rose at Rep Stage, Columbia, MD
RepStage, August – November 2012
Written by J.M Barrie. Directed by Michael Stebbins.
Ann Warren’s sound design added considerably to Barrie’s haunted tale. (Tim Smith, The Baltimore Sun).
Mary Rose's delicate nature also is brought out by ...Ann Warren's sound design. (Mike Giuliano, Baltimore Sun).
...Ann Warren’s sound design – a mélange of stringed instruments, flowing water, and chirping birds – fill out this bygone world. (Brent Englar, Broadway World ).
Composer/Translator for Folie Pure at Theater for the New City, New York, NY
Concrete Timbre, August 2012
Written by Sylvaine Hinglais. Translated by Ann Warren. Directed by Eleonore Dyl. Performed in French with English titles.
Kudos to the extraordinary musical performances provided by Concrete Timbre. (Ronald Gross, New York Theater Buying Guide).
The great thing about this play is that it merges theater and music thanks to our wonderful musicians. Music here is not an addition to the play, it is written for the play. The musicians have done a wonderful job in understanding and feeling the play, and create a music that really reflects the journey of the characters. (Manon Paulic, FrenchCultureGuide.com)
Sound Designer for Or, at Rep Stage, Columbia, MD
RepStage, June – September 2011
Written by Liz Duffy Adams. Directed by Michael Stebbins.
The play's physicality is given a unique twist, with every embrace (and there are many), by the sound design of Ann Warren who has compiled a wondrously warped playlist of Sixties tunes that resemble a cross between elevator music and early disco. (John F. Glass, DramaUrge).
The sound design by Ann Warren is successful in representing both of these eras as well, from creaking doors and footsteps to The Beatles and Barry White melodies snuck into kissing scenes. (Julia Exline, Maryland Theatre Guide).
Kudos to sound designer Ann Warren and sound board operator Matt Straka since musical interludes must hit with crystal sharp timing to cover a swoon, embrace, or a kiss. (Debbie Jackson, DC Theatre Scene).
Splashes of music, including Beatles and some Barry White, pop up in wry fashion. (Tim Smith, The Baltimore Sun).
Sound Designer for Two by J.M. Barrie at Rep Stage, Columbia, MD
RepStage, September – November 2010
Two short plays: The Last Word and The Old Lady Shows Her Medals. Written by J.M. Barrie. Directed by Michael Stebbins.
The play’s final scene, performed entirely through gesture, is a theatrical tour-de-force... Ann Warren’s sound design ...invests the inevitable with new meaning and the melodramatic with genuine feeling. (Brent Englar, Broadway World).
Music is effectively used throughout (Ann Warren did the sound design). “See the Conquering Hero Comes,” from Handel’s “Judas Maccabaeus,” becomes an ironic melodic thread; vintage recordings of World War I songs set the mood for each play. (Tim Smith, The Baltimore Sun).
Sound Designer for Santaland Diaries at Slayton House Theatre, Columbia, MD
RepStage, November – December 2007
Written by David Sedaris. Directed by Michael Stebbins.
Adding immeasurably to the play is the sound, ranging from the holiday cheer of clanging cash registers, to musical interludes of holiday classics, Phil Collins and, of course, Cher. What's the holiday season without a little Cher? (Tim Plant, www.metroweekly.com ).
...make the audience roar with laughter, and the play is interspersed with funny sound effects and songs. (Emily Campbell, www.examiner.com ).
Sound Designer for The Australia Project at Chashama, New York, NY
The Production Company, September 2007
11 plays by Australian playwrights: Pinter's Explanation by Ross Mueller, (directed by Mark Armstrong), The Melancholy Keeper of the Deep, Deep Green by Anthony Crowley (directed by Bridgette Dunlap), Goodbye New York, Goodbye Heart by Lally Katz, (directed by Kara-Lynn Vaeni), The Port by Wesley Enoch, (directed by Ari Edelson), 967 Tuna by Brendan Cowell, (directed by Mark Armstrong), The Beekeeper by Emma Vuletic (directed by Patrick McNulty), Syphon by Tommy Murphy (directed by Shana Gold), The Will of the Cockroach by Alexandra Collier (directed by May Adrales), Beneath Us by Ben Ellis (directed by Mark Armstrong), All This Beautiful Life by Veronica Gleeson (directed by Alexis Poledouris), Continuing Occupation by Van Badham (directed by Jordana Williams).
Ann Warren's great sound effects, the production conveys the pulsating thoughts that compel writers to write. (Cindy Pierre, www.newtheatercorps.blogspot.com ).
Sound Designer for Two Husbands at The Chocolate Factory, Long Island City, NY
The Chocolate Factory, March – April 2007
Written by Ken Urban. Directed by Brian Rogers.
Other design elements - notably Ann Warren's evocative sound - further define mood and place. (Martin Denton, www.nytheatre.com ).
Sound Designer for Two by Pinter: The Lover & The Collection at Rep Stage, Columbia, MD
RepStage, January – February 2007
Written by Harold Pinter. Directed by Xerxes Mehta.
Similarly, the sound (designed by Ann Warren) ...combined to not only add to the austerity of the setting, ...coupled with the perfect volume, devoid of background noise sound effects create a sense of threatening foreboding. (James Howard, Broadway World).
Sound Designer for Santaland Diaries at Rep Stage, Columbia, MD and at at Montgomery College, Takoma Park/Silver Spring Campus, Silver Spring, MD
RepStage, November 2006 – January 2007
Written by David Sedaris. Directed by Joe Brady.
Ann Warren’s sound design (is) like the perfectly chosen wrapping paper for a gift... add color and nuance to the proceedings, and again, like the rest of the team, use elements to help all of us keep track of what is going on. (James Howard, Broadway World).
Ann Warren gets the prize for a most successful sound design. (Bob Anthony, www.allartsreview4u.com ).
Sound Designer for Last Spoken Word at Experimental Theater, Henry Street Settlement, New York, NY
Dedalus Productions, August 2006
Written by Francis Kuzler. Directed by Philip Emeott.
Ann Warren's sound design includes an out-of-control water pipe that contributes an effective running joke to the proceedings. (Martin Denton, www.nytheatre.com ).
Sound Designer for Artist Descending a Staircase at Center Stage Theatre, New York, NY
Boomerang Theatre Company, September 2005
Written by Tom Stoppard. Directed by John Hurley.
A sound loop of Donner muttering "Ah, there you are," followed by a loud crash, functions as comic "entrance music." Sound designer Ann Warren succeeds with complicated comic cues. (Gwen Orel, Backstage).
The sound design is well executed by Ann Warren. (Grant Tyler Peterson, www.offoffonline.com ).
Sound Designer for Giant-n-Variation at Center Stage Theatre, New York, NY
Boomerang Theatre Company, September 2005
Written by Frank Kuzler. Directed by Eric Amburg.
...the production values are terrific, ... and Ann Warren's exquisite sound design. (Martin Denton, www.nytheatre.com).
Ann Warren's sound design further immerses the audience into the world of the play. (Rebecca Halpin, www.offoffonline.com ).
Sound Designer for You’ll Have Had Your Hole at Collective Unconscious, New York, NY
Boomerang Theatre Company, July – August 2004
Written by Irvine Welsh. Directed by Francis Kuzler.
Sound designer Ann Warren made a frenetic melange of rock music and created tapes of Dex's angry shouts. (John Chatterton, www.oobr.com ).
Sound Designer for The Wanderer at the Flea Theater, New York, NY
Laboratory for International Theatre Excchange, June – July 2004
Written by Dmitry Lipkin. Directed by Adam Melnick.
Kudos to the entire creative team: Ann Warren (sound & music)... (Martin Denton, www.nytheatre.com ).
Sound Designer/Composer for Rose Toibin at WOW Café Theater, New York, NY
WOW Cafe Theatre, March 2003 – March 2004
Written and Directed by Theresa Diamond.
The sound design by Ann Warren adds dimension by musically evoking the time and place of both pairs of women. (Laura Shea, www.americantheatreweb.com ).
Sound Designer for Bury the Dead at the American Theater of Actors, New York, NY
Stage Door Acting Ensemble, October – November 2002
Written by Irwin Shaw. Directed by Benjamin Fishman.
Outstanding is the sound design (Ann Warren). Blackouts are filled with the sounds of aircraft, bombings, machine gun fire—all recognizable from a modern-day war, but which one? And then there is the silence. (RIK, www.nytheatre.com ).
Sound Designer/Composer for Fundamental at Here Arts Center, New York, NY
theatre et al, July – November 2002
Written by Brian Rogers, Ryan Vemmer, and Aaron Rosenberg. Directed by Brian Rogers.
The complicated and largely successful design is by ...Ann Warren (sound and music)... a montage of fragments from every corner of the satellite dish..., to be commended for bringing this remarkable and provocative work to the stage. (Martin Denton, www.nytheatre.com ).
Composer for Rothchild's Fiddle at the Connelly Theater, New York, NY
Laboratory for International Theatre Exchange, October 2002
Written by Anton Chekhov. Directed by Adam Melnick. In the Chekhov NOW Festival.
Ann Warren’s music is divine and amplifies the tale to a tee. Besides the violin, there is some actual singing, but not much. (Martin Denton, www.nytheatre.com ).
Sound Design for Belles of the Mille at the Raw Space Theater, New York, NY
Music by Jill Marshall-Work. Book by Rachel Rubin. Directed by Arlene Schulman. July 2002
Special credit is due to sound designer Ann Warren, who, through the economical use of sound cues, manages to create the impression of a marching army bearing down on the women, who continue their resistance. (Andy Propst, www.americantheaterweb.com ).