'Ma Rainey's Black Bottom' at 1st Stage
"Excepting Nelson's exceptional vocals, there is no authentic music in this production. The rest of the music in this production is mimed and not entirely successfully. For example, Williams is was forced to hover above the piano keys during musical numbers, which makes parts of Ma Rainey's Black Bottom appear almost farcical. There are a number of ways that Starnes could have combatted these failings.
Nelson's vocals outmatched her acting ability but I would have happily traded an ounce of acting ability for musicality.
None of this detracts from Sound Designer Reid May's outstanding efforts. His sound design is the saving grace of this performance. His sound design is by no means tinny or bottled." - Jenny Minich
'Much Ado About Nothing’ at NextStop Theatre Company
"One of the key technical design factors which contributed to enjoyment of Much Ado was Reid May’s dynamite sound design and song selection for the preshow and intermission. It was a full gamut of 1960’s AM radio hits. The soundscape included titles such as “How Can I Be Sure,” “Maybe,” “Only You,” “Ragdoll,” “I’ve Got a Woman,” “Runaway,” “It’s My Party,” as well as many others." - David Siegel
"...set in the early 60's, with a clever soundtrack of hits from that era (assembled by Reid May), we are treated to the usual themes of opposites attract, jealousy, revenge, and-of course-marriage. - Andrew White
'Peter Pan: The Boy Who Hated Mothers' at George Mason University
"The overall transportation to Neverland was aided by some particularly clever projections, designed by Mary Grant; the lighting cues, directed by Maggie Riegel; and the sound design by Reid May. Using, again, just a bed sheet the crocodile was thrust into our midst with its dreadful tick-tock. On the set backdrop (designed by Alessandro Gaiarin) sprang up the wild branches of a magical forest, through which the small blue light and chimes of Tinkerbell danced." - Em Skow
‘An Experiment with an Air Pump’ at George Mason University
"From the outset, the design teams’ work impresses" . . . "Awareness of Reid May’s sound design is almost immediate. The action in Fenwick’s drawing room is backed by the sound of crowds outside, apparently rioting over socio-economic conditions, while Fenwick and his compatriots extoll the virtues of science as the engine of social improvements. As the play progresses, May provides an appropriate soundscapes to support the mood, including that of impending doom for Isobel. Autumn Casey’s lighting design worked hand in hand with the sound design to set mood and indicate transitions." - Bev Fleisher
Best Sound Design of 2015 in DC Metro Area Theatres
(DC Metro Theater Arts)
An Experiment with an Air Pump at George Mason University.