2004-2008
Sound Designs by Clay Teunis:
Pangs
of the Messiah...Theatre J
LBJ and Looking Over the President's Shoulder...National
Portrait Gallery
The Countess...Washington
Stage Guild
Swift
To My Wounded...National Portrait Gallery
An Inspector Calls...Washington
Stage Guild
1776...National
Portrait Gallery
The Human Boy...Prince
George's Summer Teen Theater
Fanny's
First Play...Washington Stage Guild
An Empty Plate in the Café Grand
Boeuf...Washington Stage Guild
Sor
Juana...Gala Hispanic Theatre / National
Portrait Gallery
If We Are Women...Washington
Stage Guild
Humble Boy...Washington
Stage Guild
The Bride Was In Stitches...Radio
Gothic (vanity production)
Pericles
(reading)...Washington Shakespeare Co.
You
Never Can Tell...Washington Stage Guild
Cloud 9...Catalyst
Theatre Co.
Incorruptible...Washington
Stage Guild
The Family Reunion...Washington
Stage Guild
On The Rocks...Washington
Stage Guild
Enigma Variations...Washington
Stage Guild
PressPotomac Stages review of Theatre J's Pangs of the Messiah
"The sound for the production is handled by local sound designer Clay Teunis with incidental music composed by Israeli Hannah Kakohen. The result is a physical production that feels right, giving American audiences a chance to feel a bit of what daily life is like in an area of our world where tension and domestic life co-exist."
Washington Post review of Washington Stage Guild's An Inspector Calls
"Sound Designer Clay Teunis complements the play's detective story aspects with some sinister chimes and the melodramatic noise of drenching rain. In general, though, the production provides ample evidence that "An Inspector Calls" is remembered for its social argument, not its crime story trappings."
DCTheatreScene.com review of the Guild's An Inspector Calls
"...Clay Teunis’ spot-on sound strive mightily, and with great success, to wipe away the wisps of the twenty-first century outside, and to plunge us into the luxurious 1912 dining room of an English clothing magnate and magistrate."
Washington Post review of Washington Stage Guild's Humble Boy:
"Whenever Felix gets lost in his own mind, sound designer Clay Teunis supplies a bee's low drone while...lights slightly dim. The effect is lulling and subtle, most powerful when another character disturbs him and Felix must snap back to crisp, bright reality. You soon realize that the tactic is a perfect representation of the tug of war that life's difficulties inflict on everyone, neatly underscoring what Jones' many subplots have been trying to point out all along."
Washington City Paper review of Humble Boy:
"[Felix] claims to be able to hear the vibrations of subatomic particles—'the music of the spheres'—and with an assist from Clay Teunis' sound design, the audience gets to understand why they make him shiver and stammer so."
Potomac Stages review of Washington Stage Guild's Enigma Variations
"Clay Teunis' sound design...does an unusually good job of making the on-stage record player sound appropriately located as the characters play the recording of Elgar's intellectually mysterious work which shares more than just its title with this play."
Potomac Stages review of The Family Reunion
"Nearly perfect pre-show and in between scenes music amplifies the feeling of literate wonder. Upon inquiry we were informed that it is Ralph Vaughan Williams’ “Flos Campi” for viola, wordless chorus and small orchestra."