“Joel Abbott does a brilliant job as sound designer, flawlessly weaving a myriad of sounds into the production.”
The Woman In Black, Florida Repertory Theatre — The Front Row Center
“Joel Abbott provides the fine sound design work that aids in bringing touches of realism into the play.”
Taking Steps, Barrington Stage Company — The Berkshire Edge
“There are also lighting tricks by David Weiner and sturm und drang from sound designer Joel Abbott. It's a dark and windy night in this old house where the roof leaks in the attic.”
Taking Steps, Barrington Stage Company — Berkshire Fine Arts
“Sound designer Joel Abbott not only provides us with appropriate songs of the period but also the noises caused by the plumbing problems of the creaky mansion.”
Taking Steps, Barrington Stage Company — Berkshire On Stage
“Two pianos, under Adam Wachter's astute musical direction, deliver every nuance of the glorious score, with help from Joel Abbott's sound design.”
My Fair Lady, Bay St. Theatre — New York Times
Christopher Bell's lighting and Joel Abbott's sound also work to create the right mood from train sounds to festival lights.
Last Train to Nibroc, Playhouse on Park — BroadwayWorld
There are some areas where Playhouse at Park is able to add depth and fluidity to the text. That's with some clever sound cues (designed by Joel Abbott), especially when a jolt of jazz music becomes a hospital nightmare.
The Chosen, Playhouse on Park — Hartford Courant
“...it's both mesmerizing and thought-provoking, making for the most satisfying exhibit I've seen in town this year.”
I Like the Sound of That, Artspace New Haven — New Haven Independent
“Sound designer Joel Abbott makes wonderful use of Offenbach melodies to set the time and period.”
The Collaborators, Storm Theatre — TheatreScene.net
“The sound design by Joel Abbott is the best I have experienced at Playhouse on Park”
Angels in America: Millennium Approaches, Playhouse on Park — BroadwayWorld
“Joel Abbott's sound design neatly complements and enhances the story onstage.”
Proof, Playhouse on Park — Hartford Arts Examiner
“Sound designer Joel Abbott makes wonderful use of Offenbach melodies to set the time and period.”
Gigi, Storm Theatre — TheatreScene.net
“the production design team—Lisa Ann Steier on costumes, Aaron Hochheiser on lighting, and Joel Abbott's sound design—all contribute to the atmosphere and efficiency of the evening, unobtrusively adding their touches to the eloquent story, yet enabling the audience's concentration.”
Tuesdays With Morrie, Playhouse on Park
“The sound design by Joel Abbott is first rate.”
The Drowsy Chaperone, St. Michael's Playhouse — North Country Public Radio
“The real fire of the show is in the musical performances (original songs, and accompaniment as Charlie the Piano Guy, by Joel Abbott).”
We Know Edie La Minx Had A Gun, Yale Cabaret — New Haven Review
“I really like the clever opening sequence spotlighting the doors, enhanced by Joel Abbott's sound.”
Unnecessary Farce, St. Michael's Playhouse — North Country Public Radio
“…the human element isn't the only one with comic snap and impeccable timing: so are the lighting by Deb Sullivan and Joel Abbott's sound design, which are the frosting on this particular wedding cake.”
Boston Marriage, New Repertory Theatre — Edge Boston
“As for Joel Abbott's sound, the background and dramatic accent music are all excellent and sometimes funny choices, as are the various night sounds. The sound supports the action in the style of the period.”
Around the World in Eighty Days, St. Michael's Playhouse — North Country Public Radio
“Joel Abbott's sound is very good, particularly during the fast-forward and slow motion spelling sequence.”
The 25th Annual Putnam County Spelling Bee, St. Michael's Playhouse — North Country Public Radio
“One of the biggest stars of the night, though, is Joel Abbott, a Foley artist who concocts a radio-show-like array of sound effects that build much of the sense of whimsy into the production. His use of a wind-up wind machine and a clacking typewriter brings vivid sound to the fury of de Rougemont's story”
Shipwrecked: An Entertainment, Vermont Stage Company — Burlington Free Press
“Live sound effects greatly enhance the quirky late-Victorian atmosphere. The audience sees sound designer Joel Abbott using a Foley artist's old-fashioned techniques to accompany the show. For rain, he swirls metal BBs on a tin baking sheet. To intensify the storm, he cranks the wind machine — a circle of wooden slats covered by a piece of canvas. A thunder tube, manual typewriter and vintage pump organ are among Abbott's other tools for underscoring the action.”
Shipwrecked: An Entertainment, Vermont Stage Company — 7 Days VT
“Being able to see Sound Designer and Foley Artist Joel Abbott produce the appropriate sound effects is an unexpected treat. Just watch this play's typewriter sequence…”
Shipwrecked: An Entertainment, Vermont Stage Company — North Country Public Radio
“Joel Abbott's sound is excellent”
Opus, Vermont Stage Company — North Country Public Radio
“Joel Abbott's sound add a great deal to the production”
Prelude to a Kiss, Vermont Stage Company — North Country Public Radio
“Joel Abbott conjures convincing effects, especially the scratchy gramophone playing Irving Berlin's ‘Always’ during Madame Arcati's séances.”
Blithe Spirit, St. Michael's Playhouse — 7 Days VT