PRIMER - SOUND DESIGN
"We Are Drawn into Broken Nose Theatre’s Story - We hear glass crunching underfoot, and later we hear receipt paper being ripped apart. The muffled voices of people speaking on the phone and people clearing their throats in a silent conference room help us imagine the environment of the story. These sound effect might seem like small pieces of Primer, but they help us to see the story in our minds. Like this reviewer, you too may feel as if you are really in the glass-strewn first floor of Brady’s. For a play as earth-shattering as this one, these layers of sound make the final piece that much more real." - Picture This Post
"We Are Drawn into Broken Nose Theatre’s Story - We hear glass crunching underfoot, and later we hear receipt paper being ripped apart. The muffled voices of people speaking on the phone and people clearing their throats in a silent conference room help us imagine the environment of the story. These sound effect might seem like small pieces of Primer, but they help us to see the story in our minds. Like this reviewer, you too may feel as if you are really in the glass-strewn first floor of Brady’s. For a play as earth-shattering as this one, these layers of sound make the final piece that much more real." - Picture This Post
BLUE STOCKINGS - SOUND DESIGN
"Sound designer Tony Ingram ably complements the compact set design with sound effects that stand in for the pleasant mayhem of the students' lives" - EDGE Chicago
"Sound designer Tony Ingram ably complements the compact set design with sound effects that stand in for the pleasant mayhem of the students' lives" - EDGE Chicago
THE DROWNING GIRLS - SOUND DESIGN
"Anthony Ingram’s sound design completes the eerie transformation as Keller combines all elements to frame this unnerving story." - Chicago Stage Standard
"Anthony Ingram’s sound design completes the eerie transformation as Keller combines all elements to frame this unnerving story." - Chicago Stage Standard
PRODUCE - HOST / GRAPHIC DESIGN
"The project is a kind of petri dish in which dance writer Lauren Warnecke and sound designer (and Signal Ensemble member) Anthony Ingram engineer unlikely multidisciplinary pairings that play out on the spot. The result is messy, often nifty impromptu performance pieces....Warnecke and Ingram's solid eye for comedic possibilities and outrageous personas should once again push the doings into the realm of entertaining, evolving happy accidents." - Chicago Reader
"The project is a kind of petri dish in which dance writer Lauren Warnecke and sound designer (and Signal Ensemble member) Anthony Ingram engineer unlikely multidisciplinary pairings that play out on the spot. The result is messy, often nifty impromptu performance pieces....Warnecke and Ingram's solid eye for comedic possibilities and outrageous personas should once again push the doings into the realm of entertaining, evolving happy accidents." - Chicago Reader
HOW TO SURVIVE A FAIRY TALE - SOUND DESIGN / ORIGINAL COMPOSITION
"While not a big-budget production, it emphasizes imagination and enthusiasm. The show features some great lighting and sound effects, and costumes by Jana Anderson. Alone worth the reasonable price of admission is a madcap chase sequence for Little Red, Granny, the Wolf and Jack, which brings the energy of Looney Tunes cartoons to life before your very eyes." -- Time Out Chicago
"However, the real standout for this production is Anthony Ingram’s enchanting, pervasive soundscape, which does a lot of heavy, but subtle, lifting." -- Centerstage
"While not a big-budget production, it emphasizes imagination and enthusiasm. The show features some great lighting and sound effects, and costumes by Jana Anderson. Alone worth the reasonable price of admission is a madcap chase sequence for Little Red, Granny, the Wolf and Jack, which brings the energy of Looney Tunes cartoons to life before your very eyes." -- Time Out Chicago
"However, the real standout for this production is Anthony Ingram’s enchanting, pervasive soundscape, which does a lot of heavy, but subtle, lifting." -- Centerstage
THE BIRTHDAY PARTY - SOUND DESIGN
”The production values, always high caliber in a Signal Ensemble show, are evidenced by Melania Lancy’s quaint cottage-like set with Else Hiltner’s costume design together with Julie E. Ballard’s lighting and Anthony Ingram’s sound design.” -- Chicago Critic
”The design team – Melania Lacey (set), Julie E. Ballard (lights), Elsa Hiltner (costumes) and sound (Anthony Ingram) – has done impeccable work.” -- Chicago Sun Times
"Melania Lancy’s literal scenic design and Anthony Ingram’s seaside sound design work together as a naturalistic universe that puts on display the familiar unreality of the place." -- EDGE Chicago
”The production values, always high caliber in a Signal Ensemble show, are evidenced by Melania Lancy’s quaint cottage-like set with Else Hiltner’s costume design together with Julie E. Ballard’s lighting and Anthony Ingram’s sound design.” -- Chicago Critic
”The design team – Melania Lacey (set), Julie E. Ballard (lights), Elsa Hiltner (costumes) and sound (Anthony Ingram) – has done impeccable work.” -- Chicago Sun Times
"Melania Lancy’s literal scenic design and Anthony Ingram’s seaside sound design work together as a naturalistic universe that puts on display the familiar unreality of the place." -- EDGE Chicago
THE WEIR - SOUND DESIGN
"Weathering the storm (an evocative bit of sound designer from Anthony Ingram) is Brendan (Joseph Stearns), a 30-something bachelor determined to keep the family pub and farm despite his sisters' inclinations to sell it off one acre at a time." -- Daily Herald
"Weathering the storm (an evocative bit of sound designer from Anthony Ingram) is Brendan (Joseph Stearns), a 30-something bachelor determined to keep the family pub and farm despite his sisters' inclinations to sell it off one acre at a time." -- Daily Herald
FOOL FOR LOVE - SOUND DESIGN
"Anthony Ingram's sound design resurrects such venerable careless-love classics as Why, Baby, Why?; Laura M. Dana's costumes reflect the sun-baked textures of Shepard's southwestern desert regions; and Julie E. Ballard's nimble split-second lighting effects hit every mark mandated by the enigmatic text. Taken together, these elements work to deliver a coherent clutter-free production bringing the action home in a robust, riveting and, yes, relentless 50 minutes without a second wasted" -- Windy City Times
"Anthony Ingram's sound design resurrects such venerable careless-love classics as Why, Baby, Why?; Laura M. Dana's costumes reflect the sun-baked textures of Shepard's southwestern desert regions; and Julie E. Ballard's nimble split-second lighting effects hit every mark mandated by the enigmatic text. Taken together, these elements work to deliver a coherent clutter-free production bringing the action home in a robust, riveting and, yes, relentless 50 minutes without a second wasted" -- Windy City Times
BALLAD OF THE SAD CAFE - MUSIC DIRECTION
"The Signal Ensemble production casts its spell from the start, as a young but wonderfully old-timey trio of musicians (Jason Adams, Elizabeth Bagby and Nathan Drackett), sings classic American folk tunes that easily conjure the Depression era, and the Georgia cotton mill town where McCullers' story unfolds." -- Chicago Sun Times
"Jason Adams, Elizabeth Bagby and Nathan Drackett's traditional accompaniment flavors the show with a mournful simplicity that resonates long after the show ends." -- NewCity
"The Signal Ensemble production casts its spell from the start, as a young but wonderfully old-timey trio of musicians (Jason Adams, Elizabeth Bagby and Nathan Drackett), sings classic American folk tunes that easily conjure the Depression era, and the Georgia cotton mill town where McCullers' story unfolds." -- Chicago Sun Times
"Jason Adams, Elizabeth Bagby and Nathan Drackett's traditional accompaniment flavors the show with a mournful simplicity that resonates long after the show ends." -- NewCity
ACES - SOUND DESIGN
"My pick is the Signal Ensemble's new play by Jon Steinhagen called Aces. This is a charming tragicomedy, I guess you would say, about a group of very low level con-men in Las Vegas in the 60's. It's wonderfully designed, including the Sound Design, which is the kind of thing one never mentions." -- WBEZ
"I loved the sound choices by Anthony Ingram" -- Around The Town Chicago
"Just as important, director Ronan Marra and his design team capture a '70s sensibility without overplaying their hand. Jenilee Houghton's costumes are bang on the money but never distractingly so; the same goes for Anthony Ingram's catalogue of '70s-era music that underscores the action, as well as Melania Lancy's cheesy-arty set design. (Her beer-bottle starburst wall decorations are both ironic and period perfect)." -- Chicago Tribune
"My pick is the Signal Ensemble's new play by Jon Steinhagen called Aces. This is a charming tragicomedy, I guess you would say, about a group of very low level con-men in Las Vegas in the 60's. It's wonderfully designed, including the Sound Design, which is the kind of thing one never mentions." -- WBEZ
"I loved the sound choices by Anthony Ingram" -- Around The Town Chicago
"Just as important, director Ronan Marra and his design team capture a '70s sensibility without overplaying their hand. Jenilee Houghton's costumes are bang on the money but never distractingly so; the same goes for Anthony Ingram's catalogue of '70s-era music that underscores the action, as well as Melania Lancy's cheesy-arty set design. (Her beer-bottle starburst wall decorations are both ironic and period perfect)." -- Chicago Tribune
PLAINSONG - SOUND DESIGN
"I must mention the sound design (Anthony Ingram) and lighting design (Julie Ballard), because their rich, successful contributions provided a mood and place that added brilliantly to the telling of the story." -- Chicago Theatre Review
"I must mention the sound design (Anthony Ingram) and lighting design (Julie Ballard), because their rich, successful contributions provided a mood and place that added brilliantly to the telling of the story." -- Chicago Theatre Review
