Select Theater Review Clippings
"Glass Half Shattered" from Original Music for "Top Girls" - Keyboard, Vibraphone, Hangdrum & Flute
Excerpt from review of the Lone Wolf Tribe production of The God Projekt at LaMama, Etc.
“Music is an essential component of The God Projekt. Sound designer Mark Bruckner … sets the tone, not only at the outset, but throughout. Songs such as Tumbling Tumbleweeds by Sons of the Pioneers (“see them tumbling down, pledging their love to the ground…”) to Remember Me by Al Bowlys (“remember me, just keep me in your memory …”), to the Latin chant, Circumdederunt Me Dolores Mortis (“the sorrows of death have encompassed me …”), to Gerald Adams’s Daisy Bell (“Daisy, Daisy, give me your answer, do, I’m half crazy all for the love of you …“), to Bobby Darin’s Beyond The Sea (“Somewhere beyond the sea, she’s there watching for me …”) take on particular weight and meaning as the consequences of God’s actions unfold.”
- Cynthia Allen, TheaterScene.net
Excerpts from reviews of Erin Courtney’s The Service Road
“Mark Bruckner, the sound designer and composer, creates a backdrop of electronic textures and a brilliantly jagged take on Joni Mitchell’s “Both Sides Now,” working with the multi-talented Claire Moodey, who also operates puppets and collaborated on the animation.” - Andy Webster, NY Times
“For the public, The Service Road’s biggest rewards owe to its sound and video design, which offer imaginative flourishes or moody undertones to Lia’s journey through the park and her past. Mark Bruckner creates a lush aural landscape of rustlings, grumblings, bird calls, and those pesky voices, which amplify Lia’s every step and thought.”
- Molly Grogan, The Village Voice
“Just as cool is the live sound production by Moodey and Mark Bruckner (also the composer and sound designer). Upon entering the theatre, the ominous soundscape become apparent with the two already going at it at their full-view sound booth on the side of the stage. And it's a good thing the audience can see them, because it's very fun to watch them before the show begins and then throughout the performance as they use instruments and objects to create a vivid background for the world of the play. The addition of live foley exposes the artistic strings and brings the audience further into the journey. It's also just damn impressive.”
-Molly Marinick, Theatre is Easy
Excerpts from review of Jeffrey Sweet’s Court-Martial at Fort Devens
“Haunting jazz music by Mark Bruckner, Shirley Prendergast’s sharp lighting, and John Scheffler’s attractively functional wooden set pieces convincingly re-create the World War II–era army-hospital setting and underline the show’s incisive theme.” - Lisa Jo Sagola, Backstage
Excerpts from reviews of the spoken-word musical Same Train
"…the music and lyrics of Mark Bruckner, whose individual talents are woven with such intimacy under the direction of director Mary Beth Easley, that the play is nothing short of a master of syncopation. Mark Bruckner’s skill as a pianist and percussionist marries the talents of bass player Tara Thierry, whose musical comingling gives forth just the right dramatic effect…” - Deirdre Shuler, The Amsterdam News
"Same Train is a splendid musical journey of the Black experience, romping rides of seven spirited vignettes filled with blues, gospel, jazz and spoken word, flowing from slavery to the 1960s and finally stopping in the present.” - Ron Scott, Jazz Notes, The Amsterdam News