sound design | composition | performance | pedagogy

Press

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THE WOLVES

“Choreographed passages between the scripted scenes (movement coaching is by Sarah Doucet) are electric to watch as dynamically lit by [Jareth] Li and underscored by Deanna H. Choi’s sound design and composition. All aspects of Lancaster’s production broadcast confidence, strong decisions, esprit de corps.” —Toronto Star

“The simple yet striking lighting designs of Jareth Li and Scarlett Larry bring it to life, though, in sync with the actors’ movements. Likewise, Deanna H. Choi’s sound and music complemented the action, pushing the play forward but never getting in the way.” —My Entertainment World, Toronto

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honour beat

“The original music and vocals by Pura Fé, combined with Deanna H. Choi's sound design, created a fulfilling palate of sound to fill the silence when needed and guided the audience through a serene auditory journey.” —Broadway World, Calgary

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MIXIE & the halfbreeds

"The best part of the experience, for me, was the music (composed by Deanna Choi), and the movement interludes. The dancing and choreography (by Ming-Bo Lam), mostly performed by the chorus and Mixie and Trixie’s blonde shadows, is terrific, energetic, and lots of fun." [Mooney on Theatre]

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the monument

"... reflective of the way Canada’s Indigenous population must continue to live with and work alongside systems and people that hurt them. [...] with Lauzon’s effect on the senses — the smell of the sage, the sight of the red dresses and Deanna Choi’s sound design of women singing — she reminds us that the play, and her interpretation of it, is a monument to something much bigger than these two specific people." [Toronto Star]

"The transitional music and equally eerie vocals created by Deanna H. Choi paired with Louise Guinand’s lighting created the perfect accent." [Mooney on Theatre]

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IPPERWASH

"The set design (a designer isn’t specified in the program) uses sand to link the beach to the landscape of Afghanistan, and Deanna H. Choi’s sound design brings to the forefront echoes of militarized force, both overseas and from the 1995 crisis." [Toronto Star]

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fortune of wolves

"There is something haunting and turbulent about the atmosphere created by [Composer] and Sound Designer Deanna Choi. Somehow, Choi makes TNB’s Open Space Theatre feel at once intimate (which the space is) and very large. Perhaps it’s the melodic eeriness that follows Lowell combined with the violent rumbling, that feels as if the whole world is trembling, that comes periodically." [Joyful Magpies, Fredericton, NB]

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VIMY

"The sense of disorientation was heightened by the wonderful lighting by André du Toit, the haunting minimalistic set by Astrid Janson and the subtle, evocative, aural reminders of war by sound designers John Gzowski and Deanna Choi. These talented designers provided the heartbeat of the show. Without them, the drama’s impact would have been far less gut-wrenching." [Ontario Arts Review]

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THE BOAT

"The soundscape is present throughout the production, underlying it, and playing an important part not only in the storms but in the more tender sections. The sound designer and composer, Deanna Choi, is to be congratulated." [Telegraph Journal, Fredericton, NB]

"The staging is sparse but effective, featuring several moving arches of barnacled wood lashed together as boats to a wharf. Exceptional use of lighting and sound, moving in concert with the actors, illustrate the power of the ocean." [iHeartRadio, Halifax, NS]

"As with TNB’s prior productions, ‘The Boat’ makes excellent use of the Open Space Theatre. The cast begins spaced out, separately framed beneath a minimalistic set of four sea-worn wooden arches which are frequently rearranged throughout the play, highlighting the emotional distance or closeness between the characters as they develop and grow. The theatre space also allows for the play’s chaotic, jarring depictions of life at sea, made possible through lighting and sound effects as well as the entirely modular set." [The East, Fredericton]

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this is how we got here

"Deanna Choi deserves mention for her violin compositions. 'Playing' the fox, she was subtly present throughout the entire show and I loved how her performance was laced through the threads of the piece." [Mooney on Theatre]

Deanna Choi’s sound design and compositions provide moments of lightness, especially in evoking a symbolic fox. [NOW Magazine]

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paradise comics

"From the moment we enter the theatre, hearing the haunting emo soundtrack (sound by Deanna Choi) and seeing a kitchen strewn with boxes (set by Jingjia Zhang), we enter a melancholy world of disruption and chaos." --Life With More Cowbell [Toronto, ON]

"Red Purkinje (lighting designer Sharmylae Taffe-Fletcher), ominous ambiance [sic] and desperate gasps for air – the swarming violin (sound designer Deanna Choi) forecasts a nightmare before the storm." --Toronto Theatre Review

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deceitful above all things

"As you sit in the Studio’s adjacent lounge, you can hear birds and a strange, otherworldly music. Like the chiming of celestial orbs. Entering the theatre, the ceiling is covered with tree branches, reaching downwards—and the floor is the colour of blood spreading over snow. Two benches on stage and the audience is mirrored on either side of the playing space. Combined with the sounds, the setting is eerie and strangely calming at the same time. […] The production also features beautiful work from the design team to create this hauntingly beautiful, dangerously harsh world: Nancy Anne Perrin (set), Logan Cracknell (lighting), Adriana Bogaard (costume) and Deanna Choi (sound)." --Life With More Cowbell [Toronto, ON]

"The design is another simple but striking part of the show, notably Nancy Anne Perrin’s set, which combines a red and white floor – blood and snow? – with upside down branches suggesting the wilderness locale, Logan Cracknell’s lighting and Deanna Choi’s atmospheric sound design, which help underline the show’s moving and satisfying final image." --NOW Magazine [Toronto, ON]