|Helen Hayes/Outstanding Sound Design||Award||The Wonderful World of Dissocia||Theater Alliance|
|Helen Hayes/Outstanding Sound Design||Nomination||Abominable||Hub Theatre|
|Helen Hayes/Outstanding Sound Design||Nomination||Carried Away On the Crest of a Wave||Hub Theatre|
|Golden Egg/Best Score||Nomination||From Hell to Here||Rock Creek Productions|
|48Hour Film Project/Best Sound Design||Award||A God Fearin' Man||Reflection Films|
|Helen Hayes/Outstanding Sound Design||Award||The Illusion||Forum Theatre Company|
|League of Cincinnati Theatres||Nomination||Double Indemnity||Cincinnati Playhouse|
|48Hour Film Project/Best Sound Design||Award||Trip||More Chi Black Mountain|
|Helen Hayes/Outstanding Sound Design||Nomination||Hamlet||Folger Theatre|
|Helen Hayes/Outstanding Sound Design||Award||1984||Catalyst Theater Company|
|Helen Hayes/Outstanding Sound Design||Nomination||Nest||Signature Theatre|
|Helen Hayes/Outstanding Sound Design||Nomination||The Unmentionables||Woolly Mammoth Theatre Co.|
|Helen Hayes/Outstanding Sound Design||Award||A Prayer For Owen Meany||Round House Theatre|
"Sound designers Christopher Baine and Matthew M. Nielson play with location, and always caught me off-guard with new directions of sound and excellent layering, especially when reality bleeds into Dissocia. They are restrained when it is appropriate, showing a superb understanding of how their sound interacts with the plot in such a sensuous show."
-Broadway World - The Wonderful World of Dissocia
"The Joseph family’s interwoven stories unfold in poignant scenes, between which we hear beautiful guitar-and-cello interludes (composed by Matthew M. Nielson)
-DCMetroTheatreArts - After the Revolution
"Pop music permeates the play, as if the show has a soundtrack. Some audience members sang along quietly, the sugary music providing a break from the play’s serious subject matters. Sound designer Matthew Nielson cleverly weaves music from scenes to set changes."
-Baltimore Post Examiner - The Real Thing
"While Shakespeare’s original play is riddled his own musical scoring, such as, “Oh Mistress Mine,” performed superbly by Feste (Louis Butelli) and company, this production augments that vision. A number of terrific melodies (by Matthew M Nielson) are infused, and, even when the lights are up, the cast sways and sings along as if song is a far easier language than the mere exchange of words."
-EastWest - 12th Night
"Louis Butelli handles all of Feste's duties with wicked charm and effortless stage presence. His delicious performance of Matthew Nielson's new setting of Feste's song "Hey, ho, the wind and the rain" is a highlight."
-Broadway World - 12th Night
"Matthew Nielson’s sound design, with original compositions, was 'one of the most enticing elements of the production and created the most evocative atmosphere."
-League of Cincinnati Theatres - Double Indemnity
"...and Matthew M. Nielson’s intrigue-stoking score is the next best thing to actually gassing the house with cigarette smoke."
-Washington City Paper - Double Indemnity
"Sound and light design by Matthew M. Nielson and Nancy Schertler respectively, also set the somber tones and shadows of tumultuous civil war years. Segments of original music also by Nielson contain a fusion of folk tunes steeped in the roots of the Black experience with remarkable results."
-DC Theatre Scene - Whipping Man
"Sound effects are pivotal to any "Eurydice" production. Designer Matthew M. Nielson has supplied spooky acoustic layers of electronic keenings, ominous rock chords, rumblings and a plaintive, evolving music-box melody that gives two wordless scenes a wrenching pathos."
-Washington Post - Eurydice