./ portfolio
Sound Design
Jessica Paz is a Tony Award-winning sound designer, producer, and engineer whose work spans Broadway, audio drama, live performance, and creative production.
Known for listening with intention, Jessica shapes space, resonance, and world-building across productions that add a sonic throughline to the storytelling. Her work combines technical precision with collaboration and dramaturgy.
Her work moves between Broadway, audio drama, live performance, and creative production, supporting every voice so it is not just heard but honored and framed with nuance.
Based in New York
(ET)
SELECTED PROJECTS
Broadway / Walter Kerr Theatre
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
Broadway / Walter Kerr Theatre
HADESTOWN
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
POTUS
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
ROMEO & JULIETA
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
DEAR EVAN HANSEN
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
FELA!
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
working method
“Amplification is not simply the projection of sound, but the shaping of space, resonance, and presence.”
01 ——
Pre-Production
Every project begins with the room, the voices, the score, and the audience. The design grows from what the story needs before any system is chosen.
Room analysis
Vocal clarity
Musical balance
Audience perspective
02 ——
Production
From rehearsal through opening and beyond, Jessica brings design thinking into production leadership, keeping creative intent clear as teams, rooms, and realities shift.
Collaboration
Handoff
Maintenance
Touring support
03 ——
Systems & Engineering
Engineering is what lets the artistic choices hold: signal flow, playback, reinforcement, documentation, and calm problem-solving under pressure.
Signal flow
Playback
Troubleshooting
Documentation
04 ——
Story & Space
Sound Design rooted in dramaturgy: a way to frame story, atmosphere, intimacy, distance, memory, and emotion inside the story.
Atmosphere
Presence
Memory
Cultural awareness
05 ——
Leadership & Care
The work asks for stamina and imagination: listening across departments, protecting performers, supporting crews, and carrying a show through its full life.
Calm communication
Crew partnership
Mentorship
Long-run support
Recognition
AWARDS & NOMINATIONS
Tony Award Winner — Hadestown
Drama Desk Award Winner — Hadestown
Outer Critics Circle Nominee — Hadestown
CT Critics Circle Award Winner — Kiss My Aztec!
Bay Area Theatre Critics Circle Nominee — Nobody Loves You
Suzi Bass Award Winner — Water for Elephants
Broadway
Audio Drama
Live Performance
Creative Production / Service
Press Notes
Jessica Paz’s sound design and Bray Poor’s soundscapes add immeasurably to the feeling that the story is not unspooling in some dim past but in Central Park tonight.
New York Times
Julius Caesar, The Delacorte Theater
Jessica Paz’s sound design augments the mob, with the sound of cheers and jeers penetrating the theater as if there were a giant demonstration on the great lawn.
Theatermania
Julius Caesar, The Delacorte Theater
The atmosphere was created not only by the artistry of Jessica Paz’s excellent sound design, by David Rockwell’s flexibly rotating scene flats, and by the very topical costumes of Paul Tazewell, but also by unbilled Mother Nature, who joined the stagehands in shipping in clouds and breezes that kept everything in the moment. Lighting and sound made a great contribution, as well.
DC Metro Theater Arts
Julius Caesar, The Delacorte Theater
Marina Draghici’s costume and set design is wonderful, as is Jessica Paz’s sound design and Michael Korsch’s dramatic lighting. Directed by Maija Garcia, who has also devised additional choreography to that of Bill T. Jones’ original work, Fela! The Concert is awash with sound, rhythm, movement, vibrant colour and at times, mass audience participation.
Stage Whispers
FELA! The Concert, Adelaide Festival
The sound designer Jessica Paz even worked in snippets of music to accompany the mayhem, and the crazier it got on stage, the more the audience ate it up. Comedy is rarely this well done, or so delicious to watch.
Berkshire On Stage
See How They Run, Barrington Stage
Further Jessica Paz’s sound design gently backs all of the action with the thump-thump of bass from the reunion dance that’s happening elsewhere in the school.
American Theater Web Review
The Muscles in Our Toes, LABYRINTH
Summit Entertainment Group
Russ Rosenweig / 203-453-0188 / Russ@SummitEntertainmentGroup.com
./ portfolio
Sound Design
Jessica Paz is a Tony Award-winning sound designer, producer, and engineer whose work spans Broadway, audio drama, live performance, and creative production.
Known for listening with intention, Jessica shapes space, resonance, and world-building across productions that add a sonic throughline to the storytelling. Her work combines technical precision with collaboration and dramaturgy.
Her work moves between Broadway, audio drama, live performance, and creative production, supporting every voice so it is not just heard but honored and framed with nuance.
Based in New York
(ET)
SELECTED PROJECTS
Broadway / Walter Kerr Theatre
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
Broadway / Walter Kerr Theatre
HADESTOWN
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
POTUS
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
ROMEO & JULIETA
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
DEAR EVAN HANSEN
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
FELA!
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
working method
“Amplification is not simply the projection of sound, but the shaping of space, resonance, and presence.”
01 ——
Every project begins with the room, the voices, the score, and the audience. The design grows from what the story needs before any system is chosen.
Room analysis
Vocal clarity
Musical balance
Audience perspective
02 ——
From rehearsal through opening and beyond, Jessica brings design thinking into production leadership, keeping creative intent clear as teams, rooms, and realities shift.
Collaboration
Handoff
Maintenance
Touring support
03 ——
Engineering is what lets the artistic choices hold: signal flow, playback, reinforcement, documentation, and calm problem-solving under pressure.
Signal flow
Playback
Troubleshooting
Documentation
04 ——
Sound Design rooted in dramaturgy: a way to frame story, atmosphere, intimacy, distance, memory, and emotion inside the story.
Atmosphere
Presence
Memory
Cultural awareness
05 ——
The work asks for stamina and imagination: listening across departments, protecting performers, supporting crews, and carrying a show through its full life.
Calm communication
Crew partnership
Mentorship
Long-run support
Recognition
AWARDS & NOMINATIONS
Tony Award Winner — Hadestown
Drama Desk Award Winner — Hadestown
Outer Critics Circle Nominee — Hadestown
CT Critics Circle Award Winner — Kiss My Aztec!
Bay Area Theatre Critics Circle Nominee — Nobody Loves You
Suzi Bass Award Winner — Water for Elephants
Broadway
Audio Drama
Live Performance
Creative Production / Service
Press Notes
Jessica Paz’s sound design and Bray Poor’s soundscapes add immeasurably to the feeling that the story is not unspooling in some dim past but in Central Park tonight.
New York Times
Julius Caesar, The Delacorte Theater
Jessica Paz’s sound design augments the mob, with the sound of cheers and jeers penetrating the theater as if there were a giant demonstration on the great lawn.
Theatermania
Julius Caesar, The Delacorte Theater
The atmosphere was created not only by the artistry of Jessica Paz’s excellent sound design, by David Rockwell’s flexibly rotating scene flats, and by the very topical costumes of Paul Tazewell, but also by unbilled Mother Nature, who joined the stagehands in shipping in clouds and breezes that kept everything in the moment. Lighting and sound made a great contribution, as well.
DC Metro Theater Arts
Julius Caesar, The Delacorte Theater
Marina Draghici’s costume and set design is wonderful, as is Jessica Paz’s sound design and Michael Korsch’s dramatic lighting. Directed by Maija Garcia, who has also devised additional choreography to that of Bill T. Jones’ original work, Fela! The Concert is awash with sound, rhythm, movement, vibrant colour and at times, mass audience participation.
Stage Whispers
FELA! The Concert, Adelaide Festival
The sound designer Jessica Paz even worked in snippets of music to accompany the mayhem, and the crazier it got on stage, the more the audience ate it up. Comedy is rarely this well done, or so delicious to watch.
Berkshire On Stage
See How They Run, Barrington Stage
Further Jessica Paz’s sound design gently backs all of the action with the thump-thump of bass from the reunion dance that’s happening elsewhere in the school.
American Theater Web Review
The Muscles in Our Toes, LABYRINTH
Summit Entertainment Group
Russ Rosenweig / 203-453-0188 / Russ@SummitEntertainmentGroup.com
./ portfolio
Sound Design
Jessica Paz is a Tony Award-winning sound designer, producer, and engineer whose work spans Broadway, audio drama, live performance, and creative production.
Known for listening with intention, Jessica shapes space, resonance, and world-building across productions that add a sonic throughline to the storytelling. Her work combines technical precision with collaboration and dramaturgy.
Her work moves between Broadway, audio drama, live performance, and creative production, supporting every voice so it is not just heard but honored and framed with nuance.
Based in New York
(ET)
SELECTED PROJECTS
Broadway / Walter Kerr Theatre
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
Broadway / Walter Kerr Theatre
HADESTOWN
Sound design for a mythic world built from machinery, music, and atmosphere.
Broadway / Shubert Theatre
POTUS
Sound design for a Broadway farce built on speed and precision.
The Public Theater / Public Audio / WNYC
ROMEO & JULIETA
A full-length bilingual audio drama of Shakespeare’s most beloved play.
Broadway / Music Box Theatre
DEAR EVAN HANSEN
Associate Sound Design and production continuity for a landmark contemporary Broadway musical.
Broadway / Eugene O’Neill Theatre
FELA!
Associate Sound Design for a rhythm-driven musical that moved from workshop to Broadway, tour, Europe, and Lagos.
working method
“Amplification is not simply the projection of sound, but the shaping of space, resonance, and presence.”
01 ——
Pre-Production
Every project begins with the room, the voices, the score, and the audience. The design grows from what the story needs before any system is chosen.
Room analysis
Vocal clarity
Musical balance
Audience perspective
02 ——
Production
From rehearsal through opening and beyond, Jessica brings design thinking into production leadership, keeping creative intent clear as teams, rooms, and realities shift.
Collaboration
Handoff
Maintenance
Touring support
03 ——
Systems & Engineering
Engineering is what lets the artistic choices hold: signal flow, playback, reinforcement, documentation, and calm problem-solving under pressure.
Signal flow
Playback
Troubleshooting
Documentation
04 ——
Story & Space
Sound Design rooted in dramaturgy: a way to frame story, atmosphere, intimacy, distance, memory, and emotion inside the story.
Atmosphere
Presence
Memory
Cultural awareness
05 ——
Leadership & Care
The work asks for stamina and imagination: listening across departments, protecting performers, supporting crews, and carrying a show through its full life.
Calm communication
Crew partnership
Mentorship
Long-run support
Recognition
AWARDS & NOMINATIONS
Tony Award Winner — Hadestown
Drama Desk Award Winner — Hadestown
Outer Critics Circle Nominee — Hadestown
CT Critics Circle Award Winner — Kiss My Aztec!
Bay Area Theatre Critics Circle Nominee — Nobody Loves You
Suzi Bass Award Winner — Water for Elephants
Broadway
Audio Drama
Live Performance
Creative Production / Service
Press Notes
Jessica Paz’s sound design and Bray Poor’s soundscapes add immeasurably to the feeling that the story is not unspooling in some dim past but in Central Park tonight.
New York Times
Julius Caesar, The Delacorte Theater
Jessica Paz’s sound design augments the mob, with the sound of cheers and jeers penetrating the theater as if there were a giant demonstration on the great lawn.
Theatermania
Julius Caesar, The Delacorte Theater
The atmosphere was created not only by the artistry of Jessica Paz’s excellent sound design, by David Rockwell’s flexibly rotating scene flats, and by the very topical costumes of Paul Tazewell, but also by unbilled Mother Nature, who joined the stagehands in shipping in clouds and breezes that kept everything in the moment. Lighting and sound made a great contribution, as well.
DC Metro Theater Arts
Julius Caesar, The Delacorte Theater
Marina Draghici’s costume and set design is wonderful, as is Jessica Paz’s sound design and Michael Korsch’s dramatic lighting. Directed by Maija Garcia, who has also devised additional choreography to that of Bill T. Jones’ original work, Fela! The Concert is awash with sound, rhythm, movement, vibrant colour and at times, mass audience participation.
Stage Whispers
FELA! The Concert, Adelaide Festival
The sound designer Jessica Paz even worked in snippets of music to accompany the mayhem, and the crazier it got on stage, the more the audience ate it up. Comedy is rarely this well done, or so delicious to watch.
Berkshire On Stage
See How They Run, Barrington Stage
Further Jessica Paz’s sound design gently backs all of the action with the thump-thump of bass from the reunion dance that’s happening elsewhere in the school.
American Theater Web Review
The Muscles in Our Toes, LABYRINTH
Summit Entertainment Group
Russ Rosenweig / 203-453-0188 / Russ@SummitEntertainmentGroup.com