Lost Tempo, Boston Playwrights' Theatre
"As Cool’s life spirals out of control, the stellar sound design by J Jumbelic is essential to conveying the fragmentation of Cool’s psyche."
-Don Aucoin
"Sound designer J Jumbelic finds the right mix for the live music, vocal scatting, and dialogue, as well as inserting eerie echoing voices in moments from the past."
-Nancy Grossman
broadwayworld.com
Kalman Zabarsky
A Great Wilderness, Zeitgeist Stage Company
Richard Hall/Silverline Images
"You can definitely think you smell the woodsmoke when lighting designer Michael Clark Wonson and sound designer J Jumbelic externalize Walt's fears and conflicts by dramatizing the forest fire that's raging miles away -- but, in Walt's imagination, getting too close for comfort. Jumbelic's work lends considerable sonic texture throughout, from the ring of that antiquated phone to the crunch of gravel under the tires of a car pulling up just outside."
-Killian Melloy
edgeboston.com
"Michael Clark Wonson’s lighting design and J Jumbelic’s sound design gesture at both the encroaching fire and a gnawing sense of dread."
-Jeremy D. Goodwin
"But even given J Jumbelic’s effectively moody sound design and something akin to a fiery apocalypse coming and going outside the counselor’s rustic cabin, Walt...appears less struck by lightning than by gentle drops of possibly acid rain."
-Carolyn Clay
The Artery
Boys in the Band, Zeitgeist Stage Company
"Sound designer J Jumbelic swirls us into a time warp with music of the era, including "Where Do I Go" (Hair), Lesley Gore's "It's My Party," and "Let It Be Me" (Nancy Sinatra's cover of The Everly Brothers hit)."
-Nancy Grossman
Richard Hall/Silverline Images
The Submission, Zeitgeist Stage Company
Richard Hall/Silverline Images
"J Jumbelic’s sound design is so real it is a bit unnerving — the characters often meet in a Starbucks, a location that is plugged into mobile technology, filled with the electronic sounds emitted by cell phones, computers, and the typing of text messages. The musical playlists piped into these interchangeable coffeehouses is the icing (or is that a shroud?) on the sonic cake."
-Ian Thal
"Michael Clark Wonson provides atmospheric lighting and J Jumbelic has designed sound that fills the space between scenes."
-Dr. Al Chase
"Michael Clark Wonson uses different colored lights behind panels on either end of the set to create moods, and Sound Designer J Jumbelic provides appropriate musical selections in between scenes."
-Nancy Grossman
9 Parts of Desire, Capital Repertory Theatre
"...Jumbelic’s sound design also is integral to the telling of “9 Parts.” Whether sonically depicting the lap of a river’s edge or the bombing of Baghdad, it creeps into Raffo’s text, bringing with it a special weight of memory that only sound carries."
-Michael Eck
timesunion.com
The Big Meal, Zeitgeist Stage Company
Richard Hall/Silverline Images
"Lighting Designer Michael Clark Wonson and sound designer J Jumbelic lend crucial support to the plays structure and technique."
-Kilian Melloy
"With assistance from lighting cues (Michael Clark Wonson), periodic costume changes (Elizabeth Cole Sheehan), and atmospheric sound snippets (J Jumbelic), Miller clearly maps out the parallel journeys, leaving no one behind."
-Nancy Grossman
The Normal Heart, Zeitgeist Stage Company
"Sound designer J Jumbelic has chosen iconic 1980s music (Donna Summer, Queen, Elton John, Patti LaBelle, and others) to set the tone for each scene..."
-Terry Byrne
Richard Hall/Silverline Images
Bent, Zeitgeist Stage Company
Richard Hall/Silverline Images
"Michael Clark Wonson’s dark lighting, engulfs us in this sinister, violent setting, and J Jumbelic’s stirring sound effects - moving trains, loud, factory-type whistles denoting three-minute work breaks in the concentration camp, offstage gunshots, and other horrific reminders of an unspeakable evil era - jar our souls, especially in light of recent radical terror groups‘ surge of violence."
- Sheila Barth