Nathan Rausch's Sound Designs have long been a standout...

but here he has outdone himself, as the hissing of shifting sand,

the horrible bass rumble of a landslide, the endless echoes

of a cavern chamber combine to create a cave of the imagination.

   -Sun Sentinel


   Nathan Rausch's sound designs

(particularly his haunting original score) sculpt a sense of mystery.

-Sun Sentinel


  Nathan Rausch's spooky sound design and creepy

incidental music sharpen the edge on the razor.

-Sun Sentinel


   It would be hard to imagine a production in which the sound design was more integral to the total effect.

Rausch’s complex tapestry of weird sounds, sci-fi music interludes,

ominous recorded fairy tale narratives and precise sound cues topped the charts sound-wise.

-Miami Hurricane


One of the best features of this play comes from

Nathan Rausch's scrupulous sound arrangements.

The music aptly coincides with every scene

and never once seems obtrusive,

unless it is about to make us laugh.

-Sun Post


a special nod goes to sound and music designer Nathan Rausch,

who follows up his deliciously eerie score for Mad Cat Productions of Portrait

with superlative work here. From dark, driving blues to discordant

jazzy urban riffs to the final sequence of jungle drums,

Rausch really creates an ominous New York of the ear, adding a

building sense of menace.

-Miami New Times


Lighting design is perfect as is the bridge music and sound by Nathan Rausch

-Entertainment News and Views


     Nate Rausch's sound effects and curious musical mixes keep the format from

growing stagnant

-Miami New Times


staging is graced well by inventive design contributions,

notably a moody score by Nathan Rausch and the work of Travis Neff...

Neff sculpts space with light, creating interiors that warp and change with the light cues.

This phantasmagoric sense, ably abetted by Rausch's aural architecture, is exactly right.

-Miami New Times


What was the sound of the big bang, of the creation of the earth, of the first word

spoken by the first man.

From that original moment, through man's many evolutionary steps,

to the present day and

ten years into our future, musician and sound designer Nate Rausch

takes us on a musical journey

with an array of instruments and digital soundscapes, a crash course in ethnomusicology.

Nate's musical explorations come from his own inner journeys and the outward

examinations of the universe around him,

eschewing the repetition and unhealthy

diet of popular music for a life-sustaining and world-enhancing sound art.

-John Anderson for Subtropics


The design elements -- Chris Jahn's

trailer-diner-office set, Travis Neff's lighting, Karelle Levy's costumes,

Nathan Rausch's pump-it-up sound design

-- are of a piece with the acting, directing and the play itself. Which is to say: terrific.

-The Miami Herald


Nathan Rausch's sound design is so evocative,

it's a performance in itself.

-Miami New Times

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