PRESS
“Most dramatically, Lindsay Jones’s music and sound are all encompassing, and perfectly balanced with the actors on stage.” - A Seat on the Aisle
“My favorite technical element was the original music and sound design of Lindsay Jones. The music between scenes is gorgeous. The passion in each note and ability to highlight the key emotion of the scene preceding it demanded I stay in the moment, even in the blackouts between scenes. This music would definitely score the independent film version of this play, without a doubt.” - DC Theatre Arts
“Another offstage star of the show is Lindsay Jones, the production's sound designer. Using amplified typewriter noises, the blare of a siren and the weird, unearthly growlings of the strange animals that are supposed to be out there infiltrating the industrial compound, he amplifies and immeasurably adds to the enjoyment of the play.” - Chicago Tribune
“The original music and sound by Lindsay Jones are another highlight and help to move and pace the show. Resembling not so much incidental music but Surround-a-sound that you hear at the Multiplex Movie Theater, the heavy drums and loud thunderous crowd noises get you right in the pit of the stomach. And it's a rush. This is not for the faint of heart because (as Christopher Guest says in "This is Spinal Tap") it's cranked up to "11". I simply wanted more of Mr. Jones's exciting, "take no prisoners" compositions.” - Aisle Say
“Lindsay Jones’ sound design is nothing but superb. Every effect is placed perfectly and carefully making the experience that much more enjoyable. Not only is he responsible for Sound Design but he also wears the hats of Composer of original music and Musical Arranger taking the well-chosen songs and fitting them into the piece perfectly to help move the story along and give it depth. Major kudos to Jones for his impeccable work on this piece.” - Backstage Baltimore
“Audible’s world-class production values also deliver a satisfying aural experience, with a superb soundscape by Lindsay Jones that evokes the sweaty, sexy, almost feral pace of life in the French Quarter of New Orleans. Jazz and zydeco fill the space between words, and an almost-constant soundtrack of street noise situates the listener squarely within the Kowalski flat, the title streetcar’s foreboding rumble always discernable in the distance. Jones also uses sound to delineate character in surprisingly clever ways.” - Exeunt NYC
"There’s also a fifth character in the play, one that Albee never wrote, but whose presence enriches the others and remains with you long after you’ve exited the theater — the original score by Lindsay Jones. In a pivotal scene, Martha switches George’s classical record for jazz as she prepares to seduce Nick, and plays Jones’s Les Orages Arrivent, a noir composition reminiscent of Miles Davis and early Mark Isham. Paired with Martha’s swaying hips and some free-flowing bourbon, it is nothing less than a siren song, guaranteed to lead mortals to delicious doom." - Indulge Magazine
“It seems that if Mr. Jones is part of a production team, one will always find something to enjoy in the theater." - Paul Kuritz