SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE, Mark Taper Forum (2022)

        ‘Cecily Strong is aided by marvelous lighting design from Lap Chi Chu and transformative sound design by Jeff Gardner that help ground her physical and vocal shifts in a surreal version of reality. Gardner’s sound design in particular makes it easy to forget that Strong doesn’t have any actual props beyond a stack of post-its; through his sonic cues and Strong’s impeccable timing, we see the apple she bites into or the gym locker she closes as vividly as if it were there on stage’

-Maureen Lee Lenker, Entertainment Weekly

  ‘It is helped by the outstanding sound design by Jeff Gardner; it’s so on point you can’t help but marvel at its timing’

  -Harker Jones, BroadwayWorld

  ‘One outstanding aspect of the show is the sound design by Jeff Gardner; yes, the sound design. Strong does not use props. Instead, she mimics actions, and the sound effects brings them to life. For example, she mimes biting into an apple and the audience hears the crunch or she closes an imaginary gym locker, and everyone at the theatre hears it. The sounds definitely add to Strong’s performance’

   -Dyanne Weiss, Guardian Liberty Voice

‘The Leigh Silverman direction is sharp and fast-paced and special mention must be made of the incredible sound design by Jeff Gardner. Strong uses almost no props, so everything she does is brought vividly to life by her pantomime set to perfectly timed sound effects. On opening night, an apple bite was late (of course just one of hundreds of cues!) and Strong played it off so beautifully, it became a joke with the audience as she bit into the apple later in the scene. Live theatre, people! Nothing like it’

 -Alisa Hayashida, South Pasadenan

 

 

NATIVE SON, Antaeus Theatre Company (2018)

  ‘That sound you hear underneath Jeff Gardner’s volatile sound design just might be your own heart beating’

  -Ellen Dostal, BroadwayWorld

  ‘Most notably Jeff Gardner’s rich, evocative, even tangible sound design that literally shakes the audience’

  -Danny Margolies, Los Angeles Daily News

‘The play moves like a runaway train- and indeed, the harbinging sound we hear is of a locomotive clattering through  gray, indistinct urban landscape. It’s the first of designer Jeff Gardner’s many stunning aural effects- one element of this technically tour-de-force production’

 -Deborah Klugman, LA Weekly

 

 

THE HOTHOUSE, Antaeus Theatre Company (2018)

  ‘Among the designers, Jeff Gardner deserves special mention for his echoing, disorienting sound’

  -F. Kathleen Foley, Los Angeles Times

  ‘The sounds that sound designer Jeff Gardner incorporates into the show are very affecting; At times, the bass grows so intense that it rocks the seats, transcending the play into a four-dimensional experience’

  -Shelby Corley, USC Annenberg Media

  ‘Also of note is particularly good work from sound designer Jeff Gardner, both in setting the stifling scene and in conveying some very key plot points by sound alone.’

  -Sharon Perlmutter, Talkin’ Broadway

 

 

LES BLANCS, Rogue Machine Theatre (2017)

‘And although he tops himself with every production he designs, Jeff Gardner’s truly striking sound design surfaces like a character itself, providing ominous sound effects that powerfully accent the action at every turn.’

-Travis Michael Holder, TicketHoldersLA.com

‘Jeff Gardner’s sound design is one of the year’s best, bringing the surrounding jungle to auditory life.’

-Steven Fife, Better Lemons

‘Gregg Daniel’s vision is greatly helped by Stephanie Kerley Schwartz’s resonant two-tiered set design and, especially, Jeff Gardner’s thrillingly evocative original music and sound design.’

-Michael Van Duzer, ShowMag

 

 

THE CAKE, Echo Theater Company (2017)

‘Jeff Gardner’s multi-faceted sound-design mix of music and layered effects is one of his best.’

-Steven Stanley, StageScene LA 

‘Sound by Jeff Gardner is flawless.’

-Paul Myrvold, Theatre Notes

 

 

CAT ON A HOT TIN ROOF, Antaeus Theatre Company (2017)

‘Uninhibited and bold sound choices by designer Jeff Gardner make every transition in this play off-putting in the best way, forebodingly complementing the almost apocalyptic aesthetic vision of the play.

-USC Annenberg Media

‘The sound design (Jeff Gardner) was phenomenal, perfectly balancing the many sounds coming from other parts of the plantation, including screaming children and fireworks, with the animated conversations happening in the room.’

-Erin Conley, Stage And Screen

‘Jeff Gardner’s evocative sound design does much to enhance the production.’

–Michael Van Duzer, ShowMag

 

 

BED, Echo Theater Company (2016)

‘Jeff Gardner’s sound design is excellent from the shuddering sounds at the opening of the play that sets one’s nerves on edge, to the music that Holly ekes from her electric guitar, to the song Holly sings into a mike that drops down out of the grid like at the fights.’

-Paul Myrvold, Theatre Notes

‘A fourth “character,” Jeff Gardner’s sound design, emerges and buoys the production up throughout.’

-Michael Sheehan, On Stage Los Angeles

 

 

A DOG’S HOUSE, IAMA Theatre Company (2015)

‘All of the production elements deserve high praise as well. That, plus Jeff Gardner’s layered sound design, really immerses us in this feral suburban setting.’

-Pauline Adamek, Stage Raw

 

 

THE CURSE OF OEDIPUS, Antaeus Theatre Company (2014)

‘Jeff Gardner’s expressive sound design.  It’s a theatre-fanatic’s wet-dream:  quality everything in a 50-seat house.  It’s truly amazing how excellence can be produced when push comes to shove and you have access to the very best of folk.’

-Dale Reynolds, Stage Happenings

‘Attention to detail helps make this production first-rate. There is clear attention to sound design. Having a professional sound designer like Jeff Thomas Gardner for this small a space adds to the success of the production tremendously.

-Curtain Up