Press
Press For Theatrical Sound Design & Composition
“Miles Polaski’s original music is richly cinematic, a soundscape worthy of an epic.” — Chicago Theatre Beat | MEN ON BOATS at ATC Chicago
“The production has superb elements, like … the howling-wind sound design (by Miles Polaski).” — The New York Times
“Mikhail Fiksel and Miles Polaski’s sound design is a sensual feast.” — Chris Jones in the Chicago Tribune | FULFILLMENT at ATC Chicago
“Miles Polaski’s sound design and musical composition envelopes the 90-minute production with the perfect aural atmosphere.” — Chicago Theatre Review | MEN ON BOATS at ATC Chicago
“The rhythms of work and speech, as well as the open-air setting of this production, work wonders on the audience, giving us a feel for this so foreign contemporary America, with the work of Sound Designer Miles Polaski contributing greatly to the flow.” — DC Metro Theatre Arts | EVERYTHING IS WONDERFUL at the CATF
“The designers add immeasurably to the play… Sound designer Miles Polaski offers lively transition songs that lead us to and from the scenes, including a terrific dance piece.” — Berkshire On Stage | WHERE STORMS ARE BORN at The Williamstown Theatre Festival
“One key tool [of the production] is Miles Polaski’s sound design, which often features an ominous drone-like sound that pervades under many of the scenes and conveys the nagging disquiet so many of these characters struggle to tune out.” — The Fourth Walsh | PICNIC at ATC Chicago
“Mikhail Fiskel’s musical scoring, and his sound design collaboration with Miles Polaski, could not be more inspired.” — the Chicago Sun-Times | FULFILLMENT at ATC Chicago
“Miles Polaski’s sound design, and Michael John LaChiusa’s original music, all complement the playwright’s exploration of the vicissitudes of the human condition inherent in the two plays.” — OnStage Blog | Transport Group’s William Inge Rep
“The sense of honesty (no matter how brutal) in the play and the production extends to the… horrifically real sound design provided by Miles Polaski and composer [Mikhail] Fiksel. These two artists make the noises emanating from the apartment above Michael’s painfully real and unbearably annoying. It’s a cacophony that paves the way to this marvelous play’s tragic end.” — American Theatre Web | FULFILLMENT at The Flea Theatre
“The tone has a lot in common with Sophie Treadwell’s Machinal, which gives the similar sensation of being on a conveyor belt: This is especially true with Mikhail Fiskel and Miles Polaski’s manic sound design, which interpolates the clamor of a sleepless city (a taxi horn, a cash register, a coffee maker) into a jazz improvisation; it is the ambient noise of us cogs grinding in the machine, making it up as we go along.” — Theatre Mania | FULFILLMENT at The Flea Theatre
“The atmospheric, original incidental score by skillful sound designer Miles Polaski adds immensely to the enigmatic sense of the piece.” — Theater Scene | SAGITTARIUS PONDEROSA at NAATCO
“Sound master Miles Polaski.” — Hedy Weiss in the Chicago Sun-Times | LAKEBOAT at Steep Theatre
“Miles Polaski’s truly haunting sound design ramp[s] up the proceedings.” — Zach Freeman in New City Stage | BROADSWORD at The Gift Theatre
“The real stars of the show, however, are the technical team of David Ferguson, Liviu Pasare, Charles Cooper, Miles Polaski, and Joy Dennis, who together create a dramatic universe steeped in metaphor and mystery, where violence is not a mere enhancement but instead seamlessly integrated into their story’s very foundations” — Mary Shen Barnidge in the Windy City Times | SOUL SAMURI at InFusion Theatre Company Chicago
“Well-balanced…sound design… perfectly supplement[s] and supports the action.” — Paige Listerud in Chicago Theatre Beat | AND A CHILD SHALL LEAD at Adventure Stage Chicago
“Miles Polaski’s intricate array of sound and music cues (co-designed with Mikhail Fiksel) adds chilling aural texture.” — Kerry Reid in the Chicago Reader | R.U.R. at Strawdog Theatre
“Sound by Miles Polaski… [is] perfectly supportive of the action—simultaneously prairie and battlefield, barnyard and trench… suffused with sunshine and shadow, thunder and cannon fire.” — Gary Aday in SWVA Today | MARY’S WEDDING at Barter Theatre
“Music is particularly important to the atmosphere of “Educating Rita,” and the selections used for background and between scenes contribute greatly to the emotional impact of this production.” — Gary Aday in SWVA Today | EDUCATING RITA at Barter Theatre
“Miles Polaski’s perfectly timed sound design successfully manipulated my emotions.” — Jillian Owens in the Austin Chronicle | DR. JEKYLL AND MR. HYDE at UT Austin
“Crashing soundscapes by Miles Polaski … provide just the sort of spectacle that theatre audiences of Conan Doyle’s era would have found delightful. (The brief appearance of the phosphorescent hound amidst thunder and lightning is itself a theatrical tour de force.)” — Gary Aday in SWVA Today | SHERLOCK HOLMES AND THE HOUND OF THE BASKERVILLES at Barter Theatre
Press For Theatrical Projection Design
“Projections by Miles Polaski add an impactful, chaotic visual element.” — Leah Stacey in City Newspaper | OTHER THAN HONORABLE at Geva Theatre Center
Interviews
with the Actor Hack Podcast (click here)
with Shiva’s Muse (click here)
with A! Magazine for the Arts (click here)
with the About Face Theatre Blog (click here)
Press For The MASHine
“Audio / Visual installation by Miles Polaski lets users mashup 42 pop songs (vocals / instrumentals), providing 441 different musical combinations, with a projection mapped audio visualizer” — Prosthetic Knowledge
“An installation that encompases almost everything magnificent, gratifying, and even empowering about mashup culture.” — The Creators Project
“Projection mapping! Happy people! Resolume! Nirvana mixed with ‘Call me maybe’! What more could you possibly want in life?” — Resolume Software (via Facebook)
“Sound designer Miles Polaski‘s The MASHine is an interactive audio and visual installation that combines the contemporary art of song mash-ups and Projection Mapping.” — Moxie Blog