THEATRE DESIGNER

OFF-BROADWAY AND REGIONAL DESIGN

Jason designed the projections and sound for the Off-Broadway world-premiere of Texas in Paris at the York Theatre Company starring Tony Award winner Lillias White.

Also for the York Theatre Company, Jason designed the sound for the one-man Off-Broadway musical, Lonesome Blues. He subsequently sound designed two additional productions of Lonesome Blues, at Undermain Theatre and Circle Theatre.

​Other projection designs include ReVision Theatre's production of The Rocky Horror Picture Show in Asbury Park, NJ.

Texas in Paris, Written by Alan Govenar, Directed by Akin Babatunde, starring Lillias White and Scott Wakefield, Photograph by Carol Rosegg

“The set design, by Morgan, is purposely spare, to make room for Jason Johnson-Spinos' projections of Paris streets, restaurants, and concert halls, all rendered in a pleasingly homemade manner, as if Mays had brought her Bell and Howell movie camera along with her.”
-David Barbour, Lighting and Sound America, reviewing Texas in Paris

“Sound designer Jason Johnson-Spinos expertly modulates the musical sequences and effects such as rumbling trains and eerie vocal extracts.”
-Darryl Reilly, TheaterScene.net, reviewing Lonesome Blues

OUTCRY THEATRE

With his wife, Becca Johnson-Spinos, Jason co-created the theatre company Outcry Theatre. He is currently the marketing director and a teacher there, as well as the resident sound, projection, and lighting designer. He has designed sound, projections, and lights for dozens of productions. Favorite projection designs include: Sunday in the Park with George, The Great Gatsby, Antigone, My Name is Asher Lev, and The Four of Us.

Jason Johnson-Spinos created the clever, signature hand-drawn art for the comic book projections.”
-Nancy Churnin, Dallas Morning News, reviewing Hearts Like Fists

"Mr. Johnson-Spinos’ timed projections add an extra dimension to the Margo Jones playing space.”
-David Novinski, TheaterJones, reviewing Hearts Like Fists

"The best part of the set is the full, back wall projection screen where Jason Johnson-Spinos’ childlike drawings change with each scene transition.”
-Mary L. Clark, John Garcia's The Column, ​reviewing Hearts Like Fists