Praise for Sound Theatre Company

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Taking Risks, Making Great Theatre!

We’re bursting with pride for what we accomplished in 2013 with our season of three productions, and critics took note of Sound Theatre Company as well in their end-of-year roundups!

2016 Awards:

2016 Gregory Award Nominations:   13938008_1033563503358373_1932270754508965045_o

  • 2016 Theatre of the Year
  • Best Musical Production
  • Best Actor in a Musical
  • Best Director
  • Best Supporting Actress in a Play
  • Best Actress

Peoples Choice Awards  14525053_1071853516196038_3516854991602904049_o

  • Outstanding Actress in a Musical -Tory Spero  “Parade”
  • Outstanding Director – Teresa Thuman  “Last Days of Judas Iscariot”
  • Outstanding Supporting Actor – Ben Wynant “Parade”
  • Outstanding Production – “Last Days of Judas Iscariot”

2015 Awards:

2015 Gregory Award Nominations:11802670_852893991425326_3016417303057268624_o

  • Outstanding Costume Design- Linnaea Boone Wilson – “School for Lies”

2015 Gypsy Rose Lee Awards (Jan 2015)

  • Sound Theatre Company Nominees:
    Excellence in Direction of a Play: Julie Beckman – A Small Fire (Sound Theatre Company)
  • Excellence in Performance in a Play as a Lead Actor (Male) Gordon Carpenter – A Small Fire (Sound Theatre Company)
  • Excellence in Performance in a Play as a Lead Actor (Female) Peggy Gannon – Blood Relations (Sound Theatre Company)
  • Excellence in Performance of a Play as a Supporting Actor (Male) – any non-lead Ray Tagavilla – A Small Fire (Sound Theatre Company)
  • Excellence in Performance of a Play as a Supporting Actor (Female) -any non-lead Caitlin Frances – Blood Relations (Sound Theatre Company)
  • Excellence in Performance as an Ensemble (Small Budget): A Small Fire – Sound Theatre Company (Gordon Carpenter, Sara Coates, Teri Lazzara, Ray Tagavilla)
  • Excellence in Set Design-Montana Tippett – A Small Fire (Sound Theatre Company)

2014 Awards:

2014 Gregory Awards:  It was an amazing celebration!

  • teresaseattlepi

    Artistic Director Teresa Thuman, Photo Credit: Jordan Stead/

    2014 Theatre of the Year

  • Best Musical Production
  • Best Actress in a Musical
  • Best Choreography
  • Best Supporting Actor in a Play

2013 Gypsy Rose Lee Awards (Jan 2014)

  • Excellence in Production of a Musical  -Wild Party

2013 Awards:

Seattle Times critic Misha Berson called 2013 Sound Theatre Company’s “breakout year,” and honored us in her recently published Footlight Awards.

  • Top Fringe Musical: “The Wild Party”
  • Best New Holiday Show: “Holiday of Errors” (with One Lump or Two Productions)
  • Great Performance (Musical): Tori Spero, for “The Wild Party”
  • Best Song Parody: “Crown Yourself a Bloody Little Monarch,” from “Holiday of Errors”

Notable Quotes about Sound Theatre’s Productions:

  • Sound Theatre Company has had a breakout year, and this romp closes it on a mirthful note.”

-Misha Berson, The Seattle Times  re 2013 Holiday of Errors

Sound Theatre Company has another hit on their hands…I am so happy to see this theatre company become a force with which to be reckoned in the Seattle theatre scene.”

  • -Seattle Stage Review 2013 Holiday of Errors
  • “The latest outing from one of the more impressive small theater companies in town, Sound Theatre Company,…another palpable hit for Sound Theatre Company!”-Broadway World
  • “Sound Theatre Company just keep[s] on cranking out solid productions of well-written and well-chosen plays that not only delight but also challenge audiences.” -Drama in the Hood
  • “Sound Theatre Company is developing quite a reputation for doing challenging modern theatre on limited budget and with extravagant competence.” –


Critical Praise for Sound Theatre Company:

One Man, Two Guvnors

Last Days of Judas Iscariot






  • “Teresa Thuman and the crew at Sound Theatre Company just keep on cranking out the solid productions of well-written and well-chosen plays that not only delight but also challenge audiences.  And the company’s latest show, Tom Stoppard’s two one-act plays, “Dogg’s Hamlet” and “Cahoot’s Macbeth” is no exception to the rule…Kudos to all involved!”  – Scott Taylor, Drama in the Hood
  • “Sound Theatre Company is developing quite the reputation for doing challenging modern theatre on a limited budget with extravagant competence….It is well worth your time.”  – Jerry Kraft, Seattle
  • “If you like an intellectual romp all tangled up in wild comedy, this is theatre experience for you….The are among the least performed of Stoppard’s plays, and we owe thanks to Teresa Thuman for presenting them here.  They remind us of Stoppards’ brilliant intellect, delight our sense of human and challenge our minds.”  – Nancy Worssam, Art Stage Seattle Rage


  • “But few [productions] will, I think, match the audacity of the conception or the intensity of execution that distinguished this Troilus and Cressida by the Sound Theatre Company of Seattle…Their second Shakespeare offering, also site-specific, ranks among the most provocative adaptations I’ve ever seen…The presence of anti-war activists, the gumption of using a decommissioned military base to host a play that debunks military heroism, and the suspicion that Shakespeare’s status as Our Ever-Hip Contemporary was going to be reaffirmed yet again, all combined to generate an electric atmosphere” –Todd Borlick, Shakespeare  NewsletterTHE BELLE OF AMHERST“On rare occasions there are theatrical experiences that can only be described as exquisite. Sound Theatre’s “The Belle of Amherst” is such a production. It’s a jewel, with every facet in perfect alignment. William Luce’s one-woman play about Emily Dickinson explores the mind and emotions of one of America’s best-loved poets. Julie Harris won a Tony in the play’s first Broadway outing in 1976, and the drama has garnered accolades ever since. But with all due respect to Harris, Maria Glanz owns the part in this production.

    Glanz, with her perfect New England accent, bewitches her audience. She coyly lets you in on her secrets, tartly encourages your displeasure with her neighbors. You rejoice in her delights and weep at her sorrows. She’s mercurial — at one moment reserved, even judgmental — but then she fairly bounces with glee.

    Director Teresa Thuman has done everything to provide just the right setting for this gifted actress. In a tiny theater, Thuman has lovingly re-created a comfortable mid-19th-century Massachusetts home, so realistic that, as audience, you have the sense that you are visiting there. Chris Scofield, her lighting designer, reinforces mood through subtle color and intensity changes.  And to heighten the experience, Thuman commissioned Brad Hawkins to compose and play a cello accompaniment. The music highlights significant moments and acts as voice for the characters who aren’t there. Exquisite, tour de force — decide for yourself what superlatives you’d ascribe to this glorious ‘Belle.’ “  – Nancy Worssam, Seattle Times<

  • “It is to that splendid isolation that we are invited in this one-woman show, there to encounter and engage the complex and enigmatic Dickenson as fully embodied by Maria Glanz. In order to essay such an intellectually engaged and socially disconnected personality, Ms. Glanz must draw us very close, the intimacy of the place equal to the intimacy of her personal revelation. Inside this elegant and beautifully designed set (Craig Wollam) we are made to feel very comfortable, more comfortable being with this woman than we suspect she will ever be with anyone else. This is, in many ways, the story of a very small life lived with very great passions. Those concerns: her baking, her garden, her relationship to faith, to life and death, and above all the entirety of her existence in words, become important to us because they are the only way to know her. What Ms. Glanz accomplishes in her remarkably finished and authentic performance is to create a woman who has no artifice, no physical presentation of any consequence in contrast to her vast internal identity, the soul that inhabits this house and this world.
    Because this is such quiet material, a psychic landscape of slight elevation and unexpected depth, the greatest achievement of director Teresa Thuman is the invisibility of her work in the performance. Never do we have any indication that the actress was shaped into the presentation, but rather that the woman, the poet, is simply and entirely who we are seeing. The other great challenge in this piece is keeping the themes and actions of her life urgent and immediate, especially when they are so often once removed through her writing, and so rarely connected with actual physical contact with another human being. The script beautifully blends Dickenson’s actual poetry with the narrative, autobiographical voice of the poet, and in the same way Ms. Glanz seamlessly connects the reclusive artistry of the writer with the humanity of the woman.”  – Jerry Kraft,
  • Teresa Thuman directs Maria Glanz in this lovely one-woman show. Glanz perfectly inhabits Emily Dickinson, as she invites you into her parlor for tea. She makes you cozily at home, offering her recipe for cake. She tells you of her nosy neighbors and her family, sharing portraits and history and many poems.  Glanz delivers the poetry with great affection and precision. Her love of language is palpable. She looks the part in a lovely white gown by Deborah Sorenson and proper white boots. She sews a little, mends a little, gardens a little, and tells stories.
    Another excellent addition is the presence of Brad Hawkins and his cello, where he becomes the voice of non-present family members and provides original compositions throughout the production.   The effect is enchanting and winning. It deserves to be seen, so get this on your calendar and go. If you love Dickinson, language, historical plays or glimpses of what life might have been like in the late 1800s, you’ll have a great time.  – Miryam Gordon, Seattle Gay News



  • The play, directed by Sound Theatre Company founder Teresa Thuman, is by turns fascinating and frustrating. Like Anthony Burgess‘ constructed subcultural argot in A Clockwork Orange, Myren’s made-up language is a brilliant hodgepodge, and it takes a bit of work to pick it up (though, likely, “uze new dat”), but once you get the hang of it, the dialogue assumes an urgency central to the play’s message. Both Channing and Regan do an excellent job making Myren’s language natural-sounding and as understandable as possible… the small cast does a credible job with very difficult material. The end of the world probably won’t look anything like this, but Myren’s vision of a primitive culture rebuilding itself makes for a pretty interesting and entertaining couple of hours. RICHARD MORIN – Seattle Weekly, “SW Pick”


  • “The production being staged by Sound Theatre Company and director Teresa Thuman … certainly fights hard to bring Brown’s story to life. The acting and singing is strong, the music luxurious and the minimalist staging clever and, for the most part, efficient…High quality stuff. “  — Michael Moore, The Kitsap Sun


  • This production offers some top-notch acting and is worth seeing for that alone….sparkles with crisp dialogue and compelling acting.  – Nancy Worssam, Seattle Times
  • Can we combine our desires to succeed, pulling others with us in a “rising tide?” Or does that even matter? The play is a challenge to sit through, but the themes are worth exploring and the challenge is worth rising to. There are eight strong women actors here, with support from Dayo Anderson and Chris Hille, and everyone except Byers playing multiple roles. Director Teresa Thuman gives the audience some useful information in the program about the historical figures and why she thinks the play is applicable to today, reflecting on “class divisions” that “contribute to our current crisis.” Byers, as Marlene, has to keep us interested in her, while potentially alienating us with her singular determination and lack of feeling for others. Byers manages that aspect well.
  • The eclectic, modular set by Ciara Rose Griffin works well to provide clear delineation between locales, of which there are many. There are a huge number of dialects to manage, most of which are quite well done, with support from dialect coach Shanna Ridenour. Overall, this production does the play justice and presents Churchill’s views clearly.  – Miryam Gordon, Seattle Gay News


  • Teresa Thuman, director and producer of this production, knows just how to capture the wit and psychological subtlety that makes this nearly century-old play a perennial favorite. Her careful editing did no damage to the work, but does reduce running time to suit contemporary audiences.
  • The ingeniously designed set by Craig B. Wollam creates multiple venues, some quite lavish, that swiftly transform from one to another. Deborah Sorensen’s costumes would make any woman wish to return to the early 20th century, just to be able to wear those clothes. Eliza’s ball gown is a knockout.
    Too often on Seattle stages, dialect is a weakness, but not here. This production has succeeded in providing well-rendered accents, from Cockney to upper-class.
    One can never overdose on Shaw, so even if you’ve recently seen “Pygmalion,” you’ll find lots to delight in Sound Theatre Company’s production. (Seattle Shakespeare Company will be staging its own version of the play in the coming season.) And, if your only “Pygmalion” experience is with “My Fair Lady,” do yourself a favor and see a fine production of the real thing. – Nancy Worssam, Seattle Times
  • This lovely production, on a typically tiny budget, has a sophisticated feeling and some terrific local actors. A couple of designers created lushness out of little – particularly set designer Craig Wollam (with an assist from Seattle Scenic), who made a versatile two-side Victorian drawing room in white and office/library in bookish browns. Costumer Deborah Sorensen created sensible Victorian garb, but outdid herself on the beautiful gown that Eliza Doolittle wears on the night of her triumphant test.
    Crisp direction from Sound Theatre founder Teresa Thuman makes the classic all it should be. …You may miss the movie version, which includes scenes that are fun to peek into, like the party at which Eliza enters and pulls off her smashing success, or the consolation Mrs. Higgins gives Eliza when Eliza flees in distress after leaving Higgins’ indifferent acknowledgment of her great success. But then, movies embellish. Shaw’s play is succinct and clever and tells you everything you need to know about his feelings about the aspirations of the lower class and how women should be treated and honored. – Miryam Gordan, Seattle Gay News


  • Sound Theatre has mounted a creditable version of this unusually light, beguiling Kushner fantasia, directed by Teresa Thuman. It is highlighted by the extraordinary stage environment designed by Bryan Boyd, Deborah Sorensen and others, which serves as a craggy magician’s cave and a theater-within-a-theater for projections of atmospheric French Baroque landscape paintings. – Misha Berson, Seattle Times
  • [Kushner’s] adaptation of Pierre Corneille’s 17thcentury tale “The Illusion” is no different with its poetic dialogue and gloriously surreal arc from melodramatic to stark truth.  And Sound Theatre Company’s production of this magical piece, for the most part, understands and delivers the beauty of that arc.
  • Let me start by saying that the set by Bryan Boyd and Suzi Tucker and the projections by Tucker are nothing short of a triumph.  From the instant you walk into the theater you are transported into a dark and spooky cavern and the utilization of the projections not only to provide locales but also to accentuate moments works perfectly.  So often people go too far with the projections but that is not the case here.  And director Teresa Thuman has incorporated these elements into the world so well that they are never jarring or out of place. …I’m not sure what else you can need for an evening of theater.  Solid performances on a sublime set in one of the works of an American master playwright.  It’s a no brainer.   – Jay Irwin, Broadway World
  • Kushner’s language has its own beauty.  And in this production it is spoken within a magical set, superbly lit, and visually enchanting.  The stage is an imaginative grotto where erosion has carved the cleverly designed “rock” walls, creating passages, platforms and openings.  As the action takes place, those openings become windows to the real world, showing sylvan greenswards, castles, and even a magnificent planet earth rising over the moon.  And through those opening as a cloud of fos appear key players, including the banished son.  Spooky opening music, wonderful set, and luch costumes all speak to the talents of Director Teresa Thuman and her production staff.  –Nancy Worssam, Arts Stage,
  • Sound Theatre Company’s latest production is Tony Kushner’s “The Illusion.” Adapted from the 17th century French playwright, Pierre Corneille’s “L’Illusion comique,” this strangely interesting play runs the gamut in terms of the many theatrical styles and genres of which it makes use (ie. Pastoral, light comedy, farce, and tragedy), including a meta-theatrical structure.  It is a terrifically written play that deliciously spices up the classical world of Corneille with a contemporary seasoning, and Sound Theatre Company’s production of Kushner’s 1988 adaptation, is equally delightful  Director Teresa Thuman has assembled an outstanding ensemble cast that includes the likes of Elinor Gunn, The spectacular performances of the cast were equally matched by the spectacular set and costume designs of Bryan Boyd and Deborah Sorensen. Both designers successfully combined the multiple dimensions of the illusive and mystical theatrical world conjured up by Kushner and Corneille with balanced elegance.   – Scott Taylor, Drama in the Hood
  • The ensemble chosen by Teresa Thuman, artistic director of Sound Theatre Company, is a solid bunch, able to create a lovely atmosphere of magic and wonder. …But the most inspiring aspects to this low-budget production lie in the wonderful technical achievements that Bryan Boyd and Suzi Tucker manage in their set design, a magical forest background with exactly appropriate mesh ‘windows’ to allow for Tucker’s beautifully rendered projections. Scene changes often take irritatingly long, with sometimes jarring effect, but the projections created the ability to shift seamlessly, allowing us to be transported to different settings instantly and with no fanfare. – Miryam Gordon, Seattle Gay News


  • “Matthews, Kay and director Gianni Truzzi explore the electrifying bizarreness of Pig and Runt’s self-mythology with mesmerizing energy matched by delicate insight. Though the characters race around like toddlers, speak in a weird glossolalia of their own making and bully others in (real or imagined) discos, they are also occasionally hushed by self-consciousness over shifting, conflicting desires. You feel for Pig and Runt, but you don’t want to get close. Not that they’d let you.” ( Tom Keogh , Seattle Times)
  • “Any play that can make an audience flinch at shadowboxing is doing something right; Disco Pigs nearly induces nausea. The actor-versus-empty-space fight that had audience members’ hands flying to mouths and hearts comes near the end of a spectacle of infantile violence and indulgence: drinking, dancing, fighting-and watching Baywatch.” (StefanDW, The Sunbreak)
  • “Kay’s final moments of grief are heartbreaking and Matthews’s angry tirades are terrifying.  And the two together create some sublime chemistry.” (Jay Irwin, Broadway World)
  • “Actors Kay and Matthews deliver their lines with such natural fluency that it is hard to believe they hail from anywhere other than Cork . What’s more, they play off each other so seamlessly that it is easy to forget there are only two actors on the stage. The conviction they hold for Pig and Runt’s self-contained fantasy world slowly envelops us as well.” (Samantha Leeds, UW Daily)


  • Is there any modern playwright funnier than Larry Shue?  Sadly, he died in a plane crash at the age of 39, but if her were alive today, he’d give two thumbs up to Soun Theatre’s production of “The Foreigner.”  Director Teresa Thuman has done everything right.  The cast is a well matched ensemble of odd ball characters ranging from the naïve but sweet lodge owner (Jody McCoy) to the duplicitous, fast talking Christian minister (Nick Rempel).  Rounding it out are an assortment of unforgettables. Support the splendid acting is the first rate production staff.  And within this uproarious play there is amoral, one we do well to notice.  Among the characters are two Ku Klux Kan members, spouting their staunch Christian values while planning to defraud the lodge owner and do in the foreigner, and any Jews, Negroes, Catholics or others who displease them.  But on this stage, good triumphs over evil.  – Nancy Worssam, ArtStage Seattle Rage
  • There are productions in theater that people call ‘old chestnuts’ and mean that they are reliable contemporary standards, but ones that some consider past their expiration date. However, it also implies that they are well-written, were well-received when they debuted, and people liked and produced them a lot. Such a production is Larry Shue’s The Foreigner, being produced by Sound Theatre Company.
    If you haven’t seen the play, there is a lot to like, a struggle to accomplish for underfunded, itinerant companies. Excellent set and lighting design by Richard Schaefer, and in a prop-heavy show, amazing vintage finds by Jodi Sauerbier create a super atmosphere for the play.  Director Teresa Thuman keeps it humming, with appropriate farcical timing, after a bit of a slow start at the top of Act One. Mark Waldstein has to manage all kinds of transitions and has a rubbery face that lets the audience into his thoughts as he says nothing. Marianne DeFazio and Nick Rempel play a squabbling couple. The surprise at the end is wonderfully done, which puts that cherry on the top. –Miryam Gordon, Seattle Gay News