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'Sharath Patel’s sound collages, which bridge scenes, poetically evoke the city: sirens, breaking glass, tinkling jazz.'
'we can hear the machines. One of the play’s characters, a young woman named Shanita, whose fierce work ethic doesn’t crowd out her dreamy nature, talks about the music of the factory, the self-orchestrating noises of everything from the assembly lines where sheet metal gets stamped into car doors to the old refrigerator humming softly in the break room. There’s a musicality, to be sure, about Sharath Patel’s sound design, with its deft mix of ambient noises and industrial-soul hip-hop beatscapes. But more crucially, the subtle symphony of wheezing pumps and clanking metal suggests breath and movement, the restless, rhythmic life force of some great creature.’
'Over-the-top sound design, a cascade of acoustical noises anchored by an underlying beat plus disconcerting, distracting slippery, urgent music designed by Sharath Patel adds much to the show's effect. Sounds overlap, from the low moan of bass viols to frenetic fiddles, with Scottish folk rhythms blended in occasionally. It's big sound, fitting the big set.'
'One final thing that I must praise is Hillary Charnas's composition and Sharath Patel's sound design. They serve the work onstage incredibly. The aural elements of the piece are mesmerizing, from how sounds moved around the room, to the unique manipulation of familiar songs. The sound and music created an environment that engrossed me and assisted in understanding Zaritt's world of longing, courting, engaging, and regret.'
'Peter Hoerburger's lighting design and Sharath Patel's sound design are also spectacular and help set the mood for the show.'
'Sound designer Sharath Patel has done much to augment the emotional movement and suspense of this Ibsenesque play with sound effects resembling unfinished music, elongated notes,swaths of sound swelling then flattening, sometimes like vocal anguish or keening. My theater companion didn't even hear them, at first, because they were so integral to the play.'
'Credit for all those things coming together in this production go to: Sharath Patel who put the sound design (with Kaplan) into place through the rehearsal process with the actors, boxing coach Chris Dennis and Kaplan who brings an extensive choreography background with her to this play.'
'Technical credits are once again fine, too: Seth Reiser’s shabby scenic design, Jessica Bobillot’s costumes, Carl Faber’s lighting, and again, a special nod to Sharath Patel for his understatedly eerie sound design.'
'Sharath Patel's sound design was quite seamless, subtle and effective.'
- Montague Gammon III, Portfolio Weekly
'Sharath Patel’s sound design plays a significant role, leaping forward with the action and adding touches of light melodrama to shift the mood.'
'A terrific soundscape by Sharath Patel.'
'The soundscape of crowds and fight action is perfectly done by Sharath Patel.'
'The forces behind the laughter and the insight include... composer/sound designer Sharath Patel whose between-scenes bits of music impact the emotions.'
'Sound designer Sharath Patel has probably the most unique contribution to the production: the powerful, organic beats he recorded with the actors that are skillfully employed throughout the show.'
'Sharath Patel's sound design provides an energetic soundtrack to the action, particularly in a training montage and the final battle sequence.'
'The lighting (designed by Kristeen Willis Crosser) and sound (by designer and composer Sharath Patel) continue the primitive, abrupt rhythm: one moment we are in a mythic and dark place as Oedipus, in fear for his life, is ordered to answer the riddle of the Sphinx; an instant later the light is clean and bright and the sprightly pop song "Chapel of Love" is heard.'