[T]he doom-laden feel that Emma Deane's lighting design and M. Florian Staab's original music and sound design conjures up adds another layer to the play: 9 Kinds of Silence offers one of the more affecting depictions of post-traumatic stress disorder I've seen, moving precisely because Majumdar keeps that thread as an undertone throughout.

Staab's sound design may well be the real star of this production. Beyond filling the pauses between the two characters with chilling bits of ambiance (wind blowing ominously, dogs barking in the distance), Staab peppers his soundscapes with imaginative touches - the halo-like reverberation around a couple of phone calls the Mother takes is particularly memorable in its surrealistic quality - and the occasional moments when he heightens the sound to indicate the Son's own traumatic memories have a genuine slam-bang impact.

- Kenji Fujishima for Theater Mania - 9 Kinds of Silence

Florian Staab's expert sound design - of a fog horn, a squawking bird, barking dogs, ocean waves, the suggestion of a the rumble of war - perhaps offers the loudest commentary on the issue of silence.

- Jonathan Mandell for NewYorkTheater.me - 9 Kinds of Silence

Waves crash and dogs howl beyond concrete walls, while inside a holding cell a rotary phone trills and typewriter keys lash at a sparsely filled page. There are few moments of quiet in "9 Kinds of Silence," directed by the playwright Abhishek Majumdar, with original music and densely layered sound design by M. Florian Staab. In this tense parable about a soldier's homecoming [...], every sound underscores what's left unsaid.

- Naveen Kumar for the New York Times - 9 Kinds of Silence

[Director Ciarán] O'Reilly has also overseen a gloriously dilapidated production design. Charlie Corcoran's set is a thing of crumbling plaster, dirt, and mold, with two tiny windows offering a peek at the nothingness outside. Orla Long's filthy-looking costumes are masterful studies in distressing fabrics for the stage. Sound designer M. Florian Staab's original music bookends the action on a sumptuously orchestral note.

- David Barbour for Lighting and Sound America - Endgame

"In its new production, Irish Repertory Theatre has gotten the bleak part down pat with Charlie Corcoran's set, a ramshackle "living" room that appears to be coming down around itself, with tattered curtains hanging in bay windows and bricks strewn about the floor, and Orla Long's costumes look equally threadbare and unkempt. Sound designer M. Florian Staab quietly fills the air with his subtly menacing music.

- Pete Hempstead for Theater Mania - Endgame

"The 7th Voyage" looks and sounds terrific. [...] The staticky video design by Jesse Garrison and the spacey music by M. Florian Staab smartly update the ominous vibe of 1950s sci-fi.

- Jesse Green for the New York Times (Critic's Pick) - The 7th Voyage of Egon Tichy

Even though only one [actor] can be shown on screen at any given moment, Mr. O'Reilly has staged their individual performances in such a way as to subtly suggest direct physical interaction, and M. Florian Staab's dark-and-stormy-night sound design heightens the verisimilitude still further. [...] The Irish Rep is now way out in front of every other company in America when it comes to marrying technical innovation with artistic quality.

- Terry Teachout for the Wall Street Journal - The Weir (Online)

For fans of Coward and his oeuvre, Love, Noël offers an intimate and authentic view of his charming and creative persona and a revue of 20 of his amusing and moving songs [...], in solos and duets by two of today’s most established cabaret artists (with a clear sound design by M. Florian Staab).

- Deb Miller for DC Metro Theater Arts - Love, Noël (Online)

[...] M. Florian Staab's 360-degree sound design suggests action in locations just offstage and behind the audience. The intimate house of the Irish Rep feels very much a part of the action.

- Zachary Stewart for Theater Mania - London Assurance

A subtle soundscape by M. Florian Staab provides a hushed background of angry crowds, storm-tossed waves, and sacral music suited to the episodes imparted by Jennings [...].

- Deb Miller for DC Metro Theater Arts - The Gospel of John

[...] the sound design by M. Florian Staab unobtrusively introduces restless mobs and natural resonances. The production components in no way distract from Jennings' masterful storytelling.

- James Wilson for Talkin' Broadway - The Gospel of John

The sound design by M. Florian Staab provides the chilling underscore that facilitates the hair on your arms rising and a cold chill to run up your spine.

- Jacquelyn Claire for StageBiz.com - The Hope Hypothesis

Lighting designer Bailey L. Rosa and sound designer M. Florian Staab have created some dramatic visual and aural effects as well as some subtle ones. (Staab also provides original music.)

- Mark Dundas Wood for TheaterScene.net - The Hope Hypothesis

M. Florian Staab's sound design - Dogs, birds, cars, celebrations - [is] completely clear, and I'm not even sure whether the offstage revelries in the second act are live or pretaped.

- Marc Miller for TheaterScene.com - The Mountains Look Different

Confined to the side show, a look of hopelessness seizes control of his face as the crowds pass by on their way to more enticing attractions; at night, he cowers in his cage, surrounded by hostile animal noises. (These effects, and many more, including the sounds of train engines, a ticking clock, and various musical selections, are provided by the excellent sound designer, M. Florian Staab.)

- David Barbour for Lighting and Sound America - A Hunger Artist