ROBERT ORIOL
All Things Audio for Theater
Robert Oriol is a composer and sound designer currently based in Los Angeles, California. In addtion to original music composition and theatrical sound design, he also provides music recording and production services, as well as editing and mixing.The Glass Menagerie
An innocuous visit from a potential suitor unsettles the sheltered Wingfield family. Matriarch Amanda fiercely protects her adult children from the harshness of others, but doesn’t realize that her own eccentricities are the biggest threat to their psychological survival. Brimming with poetic language and indelible characters, this play about the enduring but limiting nature of love and family made Tennessee Williams a household name. Opened March 2, 2019.
Director: Geoff Elliott. Scenic Design: Fred Kinney. Costume Design: Jenny Foldenauer. Lighting Design: Ken Booth. Original Music/Sound Design: Robert Oriol. Stage Manager: Kayla Hammett. Assistant Stage Manager: Grace Gaither. Projection Designer: Kristin Campbell. Costume Assistant: Alycia Matz. Wig/Make-Up Design: Shannon Hutchins. Props Master: Sydney Russell. Dialect Coach: Nike Doukas. Light Board Operator: Alexander LaConte. Scenic Construction and Painting: Sets to Go and A Noise Within.
Press Quotes
"Director Geoff Elliot applies this concept to this production is a way that is cinematic in its execution. The most effective ways are through the use of music and lighting. The music and sound design created by Robert Oriol is mainly used to set the time period, create dreamy moods and assist with transitions. However, the moments that are most successful are when the music is used to underscore the emotions of a character, namely Laura Wingfield—it’s in these few moments we sense the familiar magic of cinematic scoring. The lighting also serves to orient us to important moments and emotions, it the closest thing to a close-up you can have on stage and it’s beautifully done." - RYAN M. LUÉVANO, March 2019"It may be confusing to hear hospital sounds over the PA system before the play begins in Geoff Elliott’s innovative production of The Glass Menagerie. Elliott has managed to meld Tennessee Williams’ fictional recreation with images of his real-life sister, Rose. To depict the intertwining of deep past with more recent past, set designer Fred Kinney has imaged the key moments of memory – the fire-escape, the glass menagerie, and the gramophone. Costumer Jenny Foldenaur provides Amanda with a deliciously inappropriate gown for the dinner scene, and lighting designer Ken Booth helps with the gauzy – memory look. Those hospital sounds, and original music from Robert Oriol, add meaning to an otherwise puzzling juxtaposition between “fiction” and “reality”. - Leigh Kennicott (SHOWMAG.COM) March 2019.
"If The Glass Menagerie has since its Broadway debut been a memory play set in the Depression-era 1930s, scenic designer Fred Kinney makes it clear from the get-go that narrator Tom Wingfield will be speaking to us from the Eisenhower ’50s while at the same time suggesting that the front-and-center wheelchair, found nowhere in Williams’ script, will be of major significance. Ken Booth lights the production with a burnished glow enhanced by sound designer Robert Oriel’s mood-setting original music. Costumer Jenny Foldenauer makes some daring but effective creative choices, in particular Jim’s knickers-and-argyle-socks ensemble and a party dress that would do Snow White proud if her favorite colors were yellow and blue.- StageSceneLA, March 2019