Interviews & Airchecks

Vietnamese Television (VTC10-NETVIET) interview for the Sound and Light Training Program in Vietnam, presented by the U.S. Consulate and the U.S. Department of State.

Sharath Patel, Sound Designer of The Royale talks about his experience of creating an original design for this rhythm-packed show. Sep 9 - Oct 9, 2016 www.acttheatre.org #ACTTheRoyale

Features & Residencies

Reviews & Press

 
'Sharath Patel’s sound collages, which bridge scenes, poetically evoke the city: sirens, breaking glass, tinkling jazz.'  

-Rachel Saltz, New York Times

'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.' 

-Holly Johnson, The Oregonian

'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.'

-E. Michael Lockley, Indie Theatre Now

'Peter Hoerburger's lighting design and Sharath Patel's sound design are also spectacular and help set the mood for the show.'

- Roger Nasser, The New York Theatre Experience, Inc.

'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.'

- Holly Johnson, The Oregonian

'Technical credits are once again fine, too: Seth Reiser’s shabby scenic design, Jessica Bobillot’s costumes, Carl Faber’s lighting, andagain, a special nod to Sharath Patel for his understatedly eerie sound design.'

Bob Hicks, Oregon ArtsWatch

'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.'

- Bob Hicks, Oregon ArtsWatch

'A terrific soundscape by Sharath Patel.'

- Richmond Shepard, Performing Arts INSIDER and lively-arts.com

'The forces behind the laughter and the insight include... composer/sound designer Sharath Patel whose between-scenes bits of music impact the emotions.'   

- Carol Wells, The Oregonian

'Sharath Patel's sound design provides an energetic soundtrack to the action, particularly in a training montage and the final battle sequence.' 

- Dan Bacalzo, Theatre Mania

'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.'

- Carol Wells, The Oregonian