Reviews
The Real Black Swann: Confessions of America’s First Black Drag Queen, directed by Tom Trudgeon, Celebration Theatre and the Los Angeles LGBT Center, 2023
”Buoyed by Matt Richter’s lighting and Rebecca Kessin’s sound, both excellent, director Tom Trudgeon maximizes the potential of a postage stamp playing area.”
F. Kathleen Foley, Stage Raw
Ride The Cyclone, directed by Jocelyn A. Brown, Chance Theater, 2023
“..add to this Lex Leigh’s pitch-perfect music direction and Rebecca Kessin’s crystal-clear sound design mixing amped live vocals and pre-recorded tracks and you have a production that surmounts every potential obstacle that might get in its way.”
Steven Stanley, Stage Scene LA
”Rebecca Kessin‘s sound is crisp and clear, enabling the audience to hear each lyric.”
Michael M. Landman-Karny, Stage and Cinema
American Mariachi, directed by Christopher Acebo, South Coast Repertory, 2019
American Mariachi at South Coast Repertory, 2019
Directed by Christopher Acebo
Music Direction by Cynthia Reifler Flores
Sound Design by Rebecca Kessin
Scenic Design by Efren Delgadillo Jr
Lighting Design by Lonnie Rafael Alcaraz
Costume Design by Kish Finnegan
“Sound designer Rebecca Kessin envelopes the stage with punctuated sound to complete our full immersion in this ultimately wonderful story.”
Michael Quintos, Broadway World
”…SCR newbie Rebecca Kessin’s crystal-clear sound design completes a stunning production design.”
Steven Stanley, Stage Scene LA
Good People, directed by Michael Matthews, Coachella Valley Repertory, 2019
“…the haunting sound design by Rebecca Kessin.”
Kay Kudukis, Broadway World
Attack of the Second Bananas, directed by Ryan Bergmann, Menander Productions, 2019
“Becca Kessin's original underscoring of mock suspense music aptly heightens this involving, who-done-it mystery.”
Gil Kaan, Broadway World
Die Mommie, Die! at CTG's Block Party, directed by Ryan Bergmann, Center Theatre Group, 2018
"The original design team from the Celebration — scenic designer Pete Hickok, lighting designer Matthew Brian Denman and sound designer Rebecca Kessin — deliver superb results onstage."
F. Kathleen Foley, LA Times
Priscilla, Queen of the Desert, directed by Jassica Hanna, Celebration Theatre, 2018
Priscilla, Queen of the Desert at Celebration Theatre, 2018
Directed by Jessica Hanna
Music Direction by Jennifer Lin
Sound Design by Rebecca Kessin
Scenic Design by Pete Hickok
Lighting Design by Brandon Baruch
Properties Design by Michael O'Hara
Costume Design by Allison Dillard
Wigs and Hair Design by Byron J Batista
"Brandon Baruch’s lighting and Rebecca Kessin’s sound carry the day."
Elaine Mura, Splash Magazine
"...thanks to Rebecca Kessin for great sound."
Don Grigware, Grigware Reviews
This Land, directed by Armando Molina, Company of Angels, 2017
"Justin Huen’s set and lighting design in partnership with Rebecca Kessin’s sound score and Benjamin Durham’s video design delineate the shifting periods with panache."
Ernest Kearney, The Tvolution
"Not to be overlooked either is Rebecca Kessin’s dexterous Sound Design, which incorporates numerous ‘sync-sound’ effects throughout the on-stage goings-on, all of which also add much to helping create the overall atmosphere presented.”
Leo Buck, Bucking Trends
Die, Mommie, Die!, directed by Ryan Bergmann, Celebration Theatre, 2017
"Production design is Grade-A groovy all the way… above all Matthew Brian Denman’s psychedelicious lighting and Rebecca Kessin’s ‘60s-sational sound design, lending musical punch to frequent freeze-frames and thunder-clap whacks to equally frequent slaps."
Steven Stanley, Stage Scene LA
Dream Boy, directed by Michael Matthews, Celebration Theatre, 2016
Dream Boy at Celebration Theatre, 2016
Directed by Michael Matthews
Sound Design by Rebecca Kessin
Scenic Design by Stephen Gifford
Lighting Design by Tim Swiss
Costume Design by Allison Dillard
Properties Design by Michael O’Hara
"Tim Swiss’ moody lighting and Rebecca Kessin’s perfectly modulated soundscape work together to enhance the plot’s tension and its subtle sense of foreboding moving inexorably towards tragedy. "
Michael Van Duzer, Showmag.com
"The collaboration of Tim Swiss and Rebecca Kessin works extremely well in making the story feel both expansive and intimate as needed for the tale to unfold."
Michelle Clay, Splash Magazine
Booty Candy, directed by Michael Matthews, Celebration Theatre, 2015
“Rebecca Kessin’s sound design is sure to have your booty shaking.”
Marc Wheeler, Gia On The Move
If You Can Get to Buffalo, directed by Edgar Landa, Son of Semele Ensemble, 2015
“Rebecca Kessin’s sound design keeps us aurally in the world of clicks and beeps — yet transports us into the beauty of the make-believe in Starsinger’s climactic song.”
Theatre Ghost
The Why, directed by Daniel Henning, The Blank Theatre, 2014
“Rebecca Kessin's sound design that often fills the darkness with horrors no one should ever have to experience.”
Shari Barett, Broadway World
“Rebecca Kessin’s inventive sound design upping the tension every step of the way.”
Steven Stanley, Stage Scene LA
Peter Pan, The Boy Who Hated Mothers, directed by Michael Matthews, The Blank Theatre, 2013
“Rebecca Kessin’s atmospheric aural effects conspire to transport you to a dark, gritty Neverland you’ve never seen before.”
Kurt Gardner, Theatre Review LA
“Rebecca Kessin‘s sound design was particularly noteworthy — usually sound design focuses on amplification, but I really noticed Kessin’s design in the sound effects and ambient noise. This was particularly emphasized during the ship scenes where the stereophonic effects and the creaking made my mind think we were actually on a ship.”
Daniel Faigin, CA Highways