Sound Design

In Dec. 2013, Mike obtained a MFA in Music and Sound Design for Visual Media from Academy of Art University. Prior to that, his background in sound design was primarily in theatre.

For a video game demo reel using Unity, click here.

For a movie trailer demo, click here. (Password = sunnyday)


THEATRE CREDITS

2017

MIDNIGHT AT THE NEVER GET
Provincetown Inn
(Live Mixer)

2014

RED
Payomet Performing Arts
(Sound Designer)

I AM A CAMERA
THE FABULOUS LIPITONES
PERIOD OF ADJUSTMENT
Wellfleet Harbor Actors Theatre
(Sound Designer)

2013

JESUS CHRIST SUPERSTAR
Provincetown Inn
(Electric guitar)

Lewis Black's ONE SLIGHT HITCH
Wellfleet Harbor Actors Theatre
(Sound engineer)

2009

DESTRY RIDES AGAIN
42nd Street Moon, San Francisco
(Stage Manager)

WHOOP CLICK with James Judd
Dark Room, San Francisco
(Sound, lighting technician)

7 SINS with James Judd (2nd run)
Exit Theatre, San Francisco
(Sound, lighting technician)

2008

I AM NOT JAPANESE
Theatre Rhinoceros, San Francisco
(Sound and lighting design)

7 SINS with James Judd
Theatre Rhinoceros and Exit Theatre, San Francisco
(Sound, lighting technician)

 TALKING WITH ANGELS
Actors Center of San Francisco
(Sound, lighting operator)


2006

STREAKIN', A MUSICAL FLASHBACK TO THE 70s
Provincetown Theater
(Live Mixer)

DELI THEATRE
(Sound Designer)

ROMANCE
Wellfleet Harbor Actors Theater
(Sound Designer)


2005

PUGILIST SPECIALIST
HAZARD COUNTY
MCREELE
Wellfleet Harbor Actors Theatre
(Sound Designer)

BUG
MERCY ON THE DOORSTEP
Wellfleet Harbor Actors Theatre
(SFX Programmer)


2004

GLITTERATI
IMMORAL IMPERATIVES
Wellfleet Harbor Actors Theatre
(Sound Designer)


2003

PROOF
LIVE GIRLS
TRUE WEST
Wellfleet Harbor Actors Theatre
(Sound Designer)


1997
7 BLOWJOBS
Wellfleet Harbor Actors Theatre
(Sound Designer)



Also served as sound consultant at Payomet Performing Arts in Truro, Mass., 2003-2006

REVIEWS

MIDNIGHT AT THE NEVER GET
"People constantly tell me how incredible the sound has been for the show... feel lucky that my songs are being communicated so beautifully."
-Mark Sonnenblick, playwright and performer
(I should give a shoutout here to sound designer Kevin Heard as well)


PROOF
"...a version of "Proof" in Wellfleet that's infinitely better than the Broadway version."
-Ed Siegal, Boston Globe


MCREELE
"The plethora of ideas ricochets and reverberates from scene to scene, dynamically supported by Dan Joy’s rolling graphic set panels and evocative sound by Mike Iacuessa, including specially-composed music... (WHAT should put the soundtrack on sale in the lobby and website.)"
-Carol Drew, Edge Boston


IMMORAL IMPERATIVES
"As usual, the technical crew is excellent at WHAT, with Dan Joy designing the sets, Christopher Ostrom as lighting designer, Michael Iacuessa on sound design..."
-Rebecca M. Alvin, The Cape Codder


TRUE WEST
"The choice of each musical interlude is perfect, a treat delivered well by sound designer Mike Iacuessa."
-Sue Harrison, Provincetown Banner


LIVE GIRLS
"Mike Iacuessa's sound design negotiates all the complexities of the script's playing with what is 'live' and what is not. There's a particularly fine moment when Sonia, conjured by Sarah's replaying of their emotionally charged interview, walks on, silently mouthing her own words as they unspool on the tape. Then, seamlessly the recording goes silent, and Sonia is speaking for herself."
-Sam Allis, Boston Globe


PERIOD OF ADJUSTMENT
"Sound designer Mike Iacuessa must have broken into a time capsule to mix his rich batch of swinging '60s tunes and TV clips."
-Rob Phelps, Provincetown Banner


W.H.A.T. was named Best Theater by Boston Magazine in 2004