Music and Sound Design


Silent Sky - First folio theatre

"John "Smooch" Medina's projections, combined with Michael McNamara's lights and Christopher Kriz's elegantly evocative original music, give us a heavenly light show with the music of the spheres." - Chicago Tribune

"Leavitt’s breakthrough moment is closely tied to her sister Margaret’s musical prowess (beautifully orchestrated by Composer and sound designer Christopher Kriz). Its explanation is as accessible as a simple, well-crafted melody." - Chicago Sun Times

"Christopher Kriz’s Music and sound design is particularly evocative." - Chicago reader

"Christopher Kriz's original music and sound design capture the dreamy period feel of Debussy and Saint-Saëns." - edge media

paradise blue - timeline theatre

"McGhee plays several actual riffs on the trumpet, and sound designer Christopher A. Kriz has seen to it that they are seamlessly fused with orbert Davis’ recordings." - chicago sun times

The Source - route 66 theatre

"With designers Christopher Kriz (sound) and Mark Comiskey (Projections), director Jason Gerace even crafts some wonderfully moody, tone-setting interstitials…that create a real, unsettling sense of dread." - Time Out

"Christopher kriz designs a score worthy of an Academy Award-winning film." - Chicago Theatre Beat

Captain Blood - First Folio Theatre

"Toss in some rollicking interstitial songs by Christopher Kriz and a supple supporting ensemble and you've got a show that hits the sweet spot between mid-winter escapism and timely call to action." - Chicago Tribune

"Christopher Kriz's original music and striking sound design deserve mention. The sound is so impressive that cannonballs streaking across the bow of Blood's ship sounded as if the shots were fired from the back of the theater." - Daily Herald

"Kriz and Rice have also penned some worthy sea chanteys for Captain Blood, rousing songs that make you want to drink rum and learn about rigging. Christopher Kriz’ original music and sound design brings the tunes to life, and provides an audio undertow that keeps Captain Blood rolling with momentum from start to finish." - Chicago Theatre Beat

The Magic Play - Goodman Theatre

The magic here (including an astonishing finale that should not be revealed), is superb and unconventional in many ways with John Boesche’s projections, Lizzie Bracken’s semi-opaque set, Maggie Fullilove-Nugent’s lighting, and Christopher Kriz’s sound, absolutely essential to the play’s success. - Chicago Sun Times

Constellations - Steppenwolf Theatre

“Illuminated by Heather Gilbert’s atmospheric lighting design, and accented by Christopher Kriz’s original music and soundtrack, this is a quietly unassuming masterwork that must be seen to be appreciated.” - Chicago Theatre Review

“The minimalism never feels empty, thanks in part to Heather Gilbert's phenomenal lighting and Christopher Kriz's buzzing, pulsing sound and music.” - Theater Mania

The House That Will Not Stand - Victory Gardens Theatre

“The sound design by Christopher Kriz is also a standout, combining sound effects suggesting the weather outside along with an echo for Makeda's voice when she is channeling the spirit of Lazar and integrating Obispo's impressive musical score.” - Talkin’ Broadway

“Sound designer Christopher Kriz creates a tapestry of pop chart samples, percussion and the ambient sounds of the Gardley’s New Orleans (including the haunting sounds that signal the metaphorical collapse of the house and the effects that herald the arrival of the spirit of the dead master of the house, summoned by Makeba.” - Chicago Stage Standard

Grapes Of Wrath - The Gift Theatre

“Throughout, the actors join in hymns and other songs led by the compelling Balladeer, guitarist-singer Diego Colon, who, with Christopher Kriz, is responsible for the fine musical direction and score.” - Sun Times

“The production is nicely flavored by Christopher Kriz and Daniel Carlyon’s spot-on sound design (particularly a very realistic thunderstorm), Charles Cooper’s atmospheric illumination and Mr. Kriz and Diego Colon’s original music.” - Chicago Theatre Review

Carlyle - Goodman Theatre

“In typical Goodman fashion, Heather Gilbert’s lighting design, Kevin Depinet’s set design, and Christopher Kriz’s sound design give director Benjamin Kamine the perfect playground to explore the multitude of ideas that Bradshaw brings to the table.” - Chicago Stage Standard

“The scenes are perfectly punctuated by Heather Gilbert’s lighting design and Christopher Kriz’s sound” - Performink

In The Heat Of The Night - Shattered Globe Theatre

“Christopher Kriz's sound design is understated and excellent. Wheels crunch on gravel and car doors close, allowing the audience to follow the staccato changes of scene without ever needing to think about it. And all along, above and beneath, indistinct pulses of sound crackle and buzz, infusing the 95 minutes with a sense of impending catastrophe.“ - Edge Media

Sucker Punch - Victory Gardens Theatre

“Christopher Kriz’ sound design and original music raise the stakes in every scene. “ - Stage and Cinema

Gem Of The Ocean - Court Theatre

“Parson works incredibly well with lighting designer Heather Gilbert and sound designer Christopher Kriz throughout the play. Their crown jewel is when Aunt Ester takes Barlow on a trip to the City of Bones. It’s absolutely spectacular.” - Chicago Stage Standard

“Lighting designer Heather Gilbert and sound designer Christopher Kriz work wonders in transforming Ester's house (scenic design by Jack Magaw) into the slave ship on which Ester pilots Citizen to the City of Bones. Once there, we see the faces and hear the voices of those who perished during the Middle Passage, while also hearing the sizzling brand and cracking whip that abetted the dehumanization of all those herded into steerage for that journey. The experience understandably terrifies Citizen. It harrowed me.” - Milwaukee Journal Sentinel

The Madness Of Edgar Allen Poe - First Folio Theatre

“nicely underscored, as is the entire show, by Christopher Kriz's adept sound design” - Chicago Tribune

Marvin’s Room - Shattered Globe Theatre

Christopher Kriz’s sound design accurately, even lovingly, recreate the aesthetic of the late 1980’s” - Chicago Theatre Beat

Soon I Will Be Invincible - Lifeline Theatre

"an amusingly intense score by Christopher Kriz…..striking and original"

-Chris Jones, Chicago Tribune

"Christopher Kriz (music and lyrics) has composed a powerful score with inspirational lyrics befitting a super hero existentialist crisis. Kriz mixes ballad moments in with we-are-going-to-kick-some-ass anthems. The combination is dynamic! There is a lot to love about this show and Kriz’ music is #1." -The Fourth Walsh

Sticky Traps - Kansas City Rep

"Christopher Kriz's sound design escalates tension with the commingled jeers of protesters and the revving engines of the Patriot Guard Riders."

-The Pitch

"The real action unfolds beyond the church’s opaque stained-glass windows, where Christopher Kriz’s sound and Jeffrey Cady’s lighting convincingly create a fracas of protestors, counter-protestors, motorcycle gangs, and police cruisers."


Look We Are Breathing - Rivendell Theatre

"Outstanding Sound Design by Christopher Kriz"

-Chicago Stage Standard

The Grown-Up - Shattered Globe Theatre

“And if sound designer Christopher Kriz had is own Pandora station, I would listen to it all the time. The environment he creates with sounds and music always makes you forget about the outside world, and sets the mood entirely for the show.” - Buzz Onstage

-"All of the elements are enhanced by Christopher Kriz’s sensitive, original soundtrack" - Chicago Theatre Review

The Gravedigger – First Folio Theatre

“Christopher Kriz’s wind-swept soundscape turns the Mayslake Chapel into a gloomy delight.” – Chicago Tribune

“The original music and sound design by Christopher Kriz not only set a marvelous atmosphere during the play, but the creative notes could have been enjoyed in isolation. His music made me want to search out and explore his work further.” – Chicago Critic

Jane Eyre – Lifeline Theatre

“Christopher Kriz’s sound design is just cool.” – Theatre By Numbers

The Taste Of It - Ballybeg Theatre

"Christopher Kriz’s sound design situated us immediately in the early 1970s"
 -New York Theatre Now

"I’d be amiss, due to recent Tony Award controversies, if I didn’t mention the superb sound and music design employed throughout the piece. Well done, Christopher Kriz!"
-Quick Theatre 

"The play is set in Boston in 1973 and Christopher Kriz’s sound design puts us dead center"
-Times Square Chronicles

"Original music and sound design by Christopher Kriz are first rate."
-Theatre Pizzazz

Monstrous Regiment - Lifeline Theatre

"Christopher Kriz's witty sound design enhances the slightly steam-punkish world of this monstrously smart and funny production."
-Chicago Tribune

Mill Fire - Shattered Globe Theatre

“It’s all built on the incredible realism of the strip mill itself—kinetically suggested by Christopher Kriz’  surging sound design and set designer Jeff Bauer’s overhead buckets for molten steel with steam vents suggesting the blast furnaces.” 
-Stage and Cinema

"Thanks to a superb technical team—a special nod to Christopher Kriz on sound design and designer Jeff Bauer’s innovative use of space—the evocation of place is as evocative as the performers."
-Chicago Theater Beat

Rough Crossing - First Folio Theatre

"Christopher Kriz's original music shows off Stoppard's so-dumb-they're-smart lyrics to great advantage."
-Chicago Tribune

"Under Alison C. Vesely’s direction of Stoppard’s words and Christopher Kriz’s infusion of original songs, Rough Crossing is as much parody as homage — a paradage if you will — of both show tunes and the melodrama that so often surrounds them."
-Chicago Sun Times

"There are some delightful musical interludes courtesy of real-life composer Christopher Kriz to augment Sir Stoppard’s patented verbosity."
-Chicago Stage Standard

4000 Miles - Northlight Theatre

"Christopher Kriz composed some beautiful original music."
 -Around The Town Chicago

Yellow Moon - Writers Theatre

"The theatrics are quite exciting in such close in-the-round proximity, aided to a great extent by Lee Fiskness’ subtle lighting and Christopher Kriz’ original music and sound design."
 -Stage and Cinema

Turn Of The Screw - First Folio Theatre

"Sound Designer Christopher Kriz creates a sonic backdrop that's as elusive and as effective as a half-remembered nightmare, constantly hovering on the edge of audibility and instilling everything with a profound sense of unease."- Chicago Sun Times

Floyd Collins - BoHo Theatre

”Christopher Kriz (terrific sound design) create the ideal atmosphere. And those beautiful choruses of echoes reverberate long after leaving the theater. Calling Adam Guettel, Guettel, Guettel: Come to Chicago and hear it for yourself.”- Chicago Sun Times

"Guettel’s Americana-tinged score is often lovely, with extra credit due to Christopher Kriz’s impressive sound design". - Time Out

"Christopher Kriz, the sound designer, has gone to much trouble to ensure that when Floyd yodels inside the cave, the canonic echoes of his voice are perfectly timed."- Wall Street Journal

"And speaking of tour de force, the sound design of Christopher Kriz is remarkable, with echoes (of voices and of song), drips, winds, you name it."- Broadway World

The Woman In White - Lifeline Theatre

"Alan Donahue's scenic design suggests locales ranging from shadowy urban alleys to lonely country estates, as does Christopher Kriz's plucked-strings score of incidental music, providing an evocative environment for labyrinthine secrets leading to desperate deeds…" - Windy City Times


Hot-N-Throbbing - Interrobang Theatre

"Sound Designer Christopher Kriz’s precise sound design creates uncountable moments of extreme shock and awe…Voices are ethereally amplified so that very little live speaking permeates our ears. Kriz’s powerful manipulation causes the chorus to sound alternatively menacing and sultry, depending upon the trials of their circumstance."      -New City

The Count Of Monte Cristo - Lifeline Theatre

"Aided by Christopher Kriz's original music and sound design, the intrigue mounts and the scenes transition effortlessly.  The second act is particularly riveting as secrets lead to bloodshed.  Kriz‘s dark and thrilling soundtrack sets the tone for providence." - Chicago Theatre Beat

"The rousing music by Christopher Kriz helps create an almost operatic sense of grandeur" - Time Out 

Opus - Redtwist Theatre

“..uncannily meticulous cueing to a recorded soundtrack (applause for sound designer Christopher Kriz).”  -Chicago Sun Times

“The peripatetic Christopher Kriz's sound design adds layers of aural pleasure.” - Chicago Tribune

“Christopher Kriz is an integral part of making this production lifelike as it appears that each of the actors is making the music that we hear a very realistic part of the entire production" - Around The Town Chicago

Festen -Steep Theatre

"Each actor in this meticulously choreographed and soundscaped production is ideal…Dan Stratton’s handsome set (splendidly lit by Sarah Hughey), Janice Pytel’s costumes and Christopher Kriz’s sound design are perfection, too, and enhance the characters’ dark, textured psychic scars. -Chicago Sun Times

"Throughout, eerie, cinematic sound work by Christopher Kriz punctuates the grimly hilarious piece nicely." -Time Out

"Christopher Kriz’s sound design provides a driving emotional soundscape that encompasses a vast spectrum proving to be ghostly, elegant, foreboding, and yet hopeful." -Chicago Theatre Blog

Man From Nebraska –Redtwist Theatre

"Christopher Kriz’s ideal musical scoring could not be better for this play that probes so deeply and movingly." -Chicago Sun Times 

"Christopher Kriz’s music and sound design astutely punctuate the journey." -New City 

The Woman In Black -First Folio Theatre

"Angela Miller's artful set helps unveil the dark horrors, aided by Christopher Kriz's bone-chilling sound design." -Chicago Tribune

The Madness Of Edgar Allen Poe – First Folio

 "The Pit and the Pendulum" (performed at points in pitch blackness as Christopher Kriz's nerve-scraping sound design fills the void). 

-Chicago Tribune

"Christopher Kriz's richly evocative sound design merits praise. The beating heart that seems to envelop the Madman's bedroom, the ominous whir of the pendulum, the scurrying of rats and the moaning cello that recalls the human voice add the requisite ambience to a masterful take on a master's work." -Daily Herald 

"Backed by sound designer Christopher Kriz’s effective cacophony of echoing screams, otherworldly tolling and good old-fashioned things going bump in the night, both the poet and his writing get an excellent presentation here in a production rich with  both psychological depth and supernatural scares." -Examiner 

Thieves Like Us - The House Theatre

"The richly nuanced contributions of Alison Siple (costumes), Charlie Cooper (lighting) and Christopher Kriz (sound), all of whom have helped create a deliciously cinematic (and also winningly Brechtian) piece of theater.” -Chicago Sun Times

Master Harold....and The Boys - TimeLine Theatre

"The lighting by Heather Gilbert sets the mood as does the sound by Christopher Kriz. We feel the rain that is created by sound and light as if it were truly a storm." –Steadstyle

The Pillowman - Redtwist Theatre

"Christopher Kriz’s original music and sound design add both authenticity to the representation and sinister atmosphere to the presentation." -Chicago Stage Review

"Sound designer Christopher Kriz immerses the audience into a dank and cramped bunker." -Broadway World

Golda's Balcony - Pegasus Players 

"Janet Ulrich Brooks commanding performance is subtly supported by Christopher Kriz's mournful background music."   -Chicago Reader 

Jitney – Pegasus Players

“The beautifully designed soundscape of street traffic adds a subtle realism outside the office that permeates the interaction of the men who reveal more and more about themselves and their lives as we peer into their world.” -Broadway World