Isabelle C.B. Moreton

Composer and theatre pianist from Brisbane, Australia. My CV; my music.

[isabelle-moreton]

Your friends...how much do you feel their love?

This is sinister, yet ... wholesome?

[isabelle-moreton]

In memoriam?

I was due to MD a couple of shows at Brisbane Arts Theatre this year, but they were all cancelled for pandemic reasons. Here are the original dates and original leading casts:

Our House, 4 April through 16 May 2020

Mary Poppins, 30 May through 18 July 2020

The 25th Annual Putnam County Spelling Bee, 24 October to 28 November 2020

While they are definitely not returning this year, here’s hoping for a comeback sometime next year!

[isabelle-moreton]

Brisbane Arts Theatre: LADIES IN BLACK

The Arts Theatre's 1,063rd production.

Creatives and crew

Director: Loic Valmy

Assistant to the Director: Rosie Joh

Audio engineer: Lane Agostinelli

Choreographer: Michelle Radu

Costume designer: Kirily Jago

Lighting designer: Fiona Black

Musical direction by: Taylor Holmes

Conductor & repetiteur: James Bovill

Set design by: Loic Valmy and Tim Pierce

Sound designer: Loic Valmy and Taylah Karpowicz

Stage manager: Taylah Karpowicz

Production team:

Eloise Pean

Georgia Pitt

Jacqueline Sichter

Jamie Cameron

Kathryn Allen

Laura Hill

Laura McKenna

Nikolai Stewart

Perry Sanders

Reagan Lovett

Scenic art by:

Linda Ogonowski

Alex Pierce

Costume assistants:

Hazel Burgess

Alice Porter

Alice Cameron

Nick Scotney

Emma Learmonth

Cal Crilly

Linda Ogonowski

Dorothy Watson

Yolanda Kingston

Production photography by: Nick O'Sullivan

Associate lighting designer: Lane Agostinelli

Cast

Jordan Boyd as Lisa

Laura Fois as Magda

Hannah Kassulke as Fay

Jessica Ham as Patty

Racheal Leigh Johnson as Miss Cartwright/Joy

Deidre Grace as Miss Jacobs/Mrs Crown

Damien Campagnolo as Mr Miles/Stefan

Debbie Taylor as Mrs Miles

Tristan Ham as Frank

Ben Kasper as Rudi/Lloyd/Fred

Eloise Newman as Myra

Sophie Price as Dawn

Samantha McLaughlin, swing

Danielle Clubb, ensemble

Aidan Hodder, ensemble

Marita Bellas Miles, ensemble

Stephanie O'Shea, ensemble

Sacherenece Sitagata, ensemble

Mackenzie Taylor-Kelly, ensemble

Band

James Bovill, conductor/keys

Ian Ahles, guitar

Matthew Teakle, guitar cover

Daniel Smerdon, cello

Rhiannon Tate, violin

Jennifer Wilson, drums/percussion

Benjamin Richards, drums/percussion cover

Tracie Comber, drums standby

Liam Madden, drums standby

Joshua Mellor, bass (electric & upright)

Kirsten Baade, bass (electric & upright)

[isabelle-moreton]

Brisbane Arts Theatre: AVENUE Q (2018)

The Arts Theatre's 1,050th production.

Directed by: John Boyce

Music direction by: Taylor Holmes

Costumes by: Chantelle Norton

Original choreography by: Katherine Alpert

Original design by: Andy Kennedy

Technical design & direction by: Ruby Foster

Original lighting design by: Ryan McDonald

Choreography revised by: Michelle Radu

Puppets by: Lierre Beutel & Scott Richards

Original puppets and animations by: Fortune Theatre, New Zealand

Special thanks to: Hannah Kassulke

Cast

Princeton: William Toft

Kate Monster and Lucy T. Slut: Katie Routson and Lara Boyle

Rod: Tyler Stevens

Nicky and Trekkie: Joshua Moore

Gary Coleman: Natalie Mead

Christmas Eve: Jordan Boyd

Brian: Matt Shield

Bad Idea Bears: Michelle Radu and Connor Clarke

Mrs Thistletwat / supporting puppeteer: Lorraine Hanson

Crew

Stage manager: Taylah Karpowicz

Sound engineer: TJ Wells

Puppet curator: Lierre Beutel

Production team: Adam Charlton, Jen Jensen, Jessica Carlson, Alex Mackenzie, Laura McKenna

Set construction: Tim Pierce, Scott Lymbery

Band

Repetiteur/Keys 1: James Bovill

Keys 2: Kyle Lacey-Janetzki

Flute/clarinet/saxophone: Britney Ellen

Guitar: Ian Ahles

Guitar (cover): Matthew Teakle

Bass guitar: Wendy Bird

Drums and percussion: Tracie Comber

[isabelle-moreton]

Mousetrap Theatre Company: JOSEPH AND THE AMAZING TECHNICOLOUR DREAMCOAT

Team

Director: Carmen Heath

Music director: James Bovill

Choreographer: Zita Anderson

Choreographer: Sara Anderson

Characters

Narrator: Elissa Holswich

Joseph: Byron Philp

Pharaoh: Liam Hartley

Simeon (+ Baker): Liam Kirkpatrick

Judah: Simon Ah-Him

Reuben: Jai Jackson

Potiphar: Justin Wallace

Mrs Potiphar: Jessica Limmer

Mrs Potiphar (cover): Paula-Mary Camilleri

Jacob: Mike Limmer

Butler: Tom Burrell

Ensemble

Meghan Budinger

Oliver Catton

Connor Chadwick

Kristen Corkill

Franck Dance

Susan Harding-Smith

Tamara Jackson

Reuben Limmer

Karen Matthews

Louise Pointing

Sophie Price

Nikol Trenberth

Sharon Walkerden

Choir

Eli Ball

Evana Brunne

Grace Brunne

Miranda Matthews

Adjoa Sam

Grant Townsend

Band

James Bovill, bandleader / keys 1

Tod Phillips, keys 2

Ian Ahles, guitar

Wendy Meehan, bass

Zach Brankovich, drums

Ajay Hazzard, drums (cover)

Additional orchestration by Nick Rossi

Additional credits

Production manager: June Tretheway

Set designer and builder: Gordon Heath

Props manager: Hilary Warnett

Stage manager: Ian Warnett

Lighting and sound operator: David Scheiwe

Costume designer: Carmen Heath

Hair and makeup: Susan Harding-smith

Backstage supervisors: Shirley Budinger, Glenda Willis

Special props: Hilary Warnett, Ian Warnett, Lea Goodrich, Tom Burrell

Costume team: Fay Richards, Pat Holmes, Karen Matthews, Tanja Stanley

Vocal consultants: Sherree Cudney, Simon Chamberlain

Special choreography: Jessica Limmer, Reuben Limmer

Programme ad sales: June Tretheway

Publicity: Ralph Ashby, June Tretheway, Colin Edgecomb

Photography: June Tretheway, Alison McColl Bullock

Poster design: Gordon Heath

Audition team: Shirley Budinger, Carrie O'Rourke, Annette Wallace, Roisin Wallace, Justin Wallace, Joshua Anderson

Front of house: Barb Wainwright and volunteers

Special thanks to Yvette D'Ath, State Member for Redcliffe, for photocopying services

[composerinprogress]

This was the closing Finale of my recital. However, the recording you are about to hear was done in a session at a studio. I never knew what a difference that could make. To date, it’s one of my best pieces, and it has an ending you don’t want to miss.

Two bonuses: There’s a very subtle, almost unnoticeable reference to Danny Elfman’s Batman theme, and a very obvious reference to Tchaikovsky’s Swan Lake theme.

[isabelle-moreton]

CHESS: some more motivic notes

Characters’ leitmotifs being used against them is a recurring theme. Florence has “1956 - Budapest Is Rising”, which is first heard in Freddie’s mouth as he viciously attacks her; another prominent usage is the intro to “Endgame”, delivered almost entirely by Florence’s enemies. Anatoly’s “Where I Want To Be” is reprised once, by Svetlana, as she tries to talk him down. “Pity the Child” is foreshadowed by Anatoly and Florence in “Mountain Duet” as they speak scornfully about Freddie.

The characters fight by modulating. Anatoly and Freddie do it the most. It’s visible first in “The Interview” - they start in a key which is comfortable for Anatoly, then Freddie leverages a very unconventional, harmonically non-functional pedal point modulation to crash modulate the song up a fourth - where Anatoly, a baritone, strains and sounds distressed. It’s visible again in “The Deal”; Freddie sets a high key for Anatoly to enter in, and Anatoly takes it for his entry, then crash modulates down a full step to return to the original key (maybe he’s learning how to argue properly?). Freddie interrupts him, going back up a full step - then another step and a half as he becomes more intense, taking the argument firmly into tenor range where Anatoly can’t follow him.

Anatoly’s part in “Endgame” on Broadway is structurally inverted relative to his part in “Endgame” in the West End. In the West End, he sings the first verse of each pair; on Broadway, he sings the second, taking up the notes that were Florence and Svetlana’s, while Freddie takes the notes that were his. This extends all the way to the final, dizzying swirl of orchestral action - compare: WEST END A: And so, you’re letting me know -- S: You’re the only one who’s never suffered anything at all A: -- how you’ve hated my success S: Well I won’t crawl And you can slink back to your pawns and to your tarts A: And every poison word shows that you never understood S: Liar! A: Never! ... with BROADWAY F: At last! He’s made a mistake A: I cannot go on hurting all the people who have trusted me F: He cannot escape from here A: So here we are The final stages of a soul-destroying game The sacrifice of someone I will never find again F: Check! A: Never! ... This is very thematically appropriate and a touch cheeky - see below.

Subtle motivic layering is a thing, and there’s usually a point to it. This is especially prominent in Chess in Concert’s 10m14s “The Deal (No Deal)” with its lengthy introductory recit - which is all in the style of “Florence and Molokov”. The Arbiter opens the piece with a straight reprise, then Molokov enters using the melodic and harmonic material of “The Story of Chess” - but the lower orchestra is still playing the characteristic 3:2 bass polyrhythm of “Florence and Molokov”, and the upper orchestra is addressing the harmonic material using the rhythmic pattern which it uses in “Florence and Molokov”. Svetlana goes to confront Anatoly, and hits him with “Where I Want To Be” ... but the backing is still characteristically “Florence and Molokov” even though it’s addressing the harmonic material of “Where I Want To Be”. Walter reenters and, the orchestra having remained in “Florence and Molokov” mode, it flows seamlessly back into another straight reprise of “Florence and Molokov”. Florence manages to break it for a moment with “Pity the Child #1″, but Walter and Molokov band together to retake the floor. What’s the common theme here? Everyone is being exploited and controlled by Molokov. The Arbiter professionally cannot and personally will not see the political interference in the tournament. Svetlana is under duress. Walter effectively is Molokov. The real break comes with Freddie entering with “The Deal”, because Freddie doesn’t need to be manipulated by Walter and Molokov to want to dictate terms to Anatoly; he’s not being exploited - he’s in it on his own terms.

Straight reprises and foreshadows are also used well. In “Press Conference”, the Italian reporters heckle Freddie to his (admittedly easily reached) breaking point. Come “The Interview”, Freddie does the same to Anatoly, to the same music. More obscurely, “Talking Chess” is an obscenely upbeat and cheery reprise of “Mountain Duet”, both pieces where two opponents come together and unexpectedly reconcile. Another highlight is the transition between “The Soviet Machine” and “The Interview” - set to the melody of “Hungarian Folk Song”, which doesn’t appear independently in the scores that have this transition. Molokov sings a verse to end “The Soviet Machine”, and Walter sings one to begin “The Interview”. It’s a melody only they share, emphasising just how similar they really are.

Chess Broadway and Chess West End have completely different and incompatible canons. Notably, the original champion is inverted; in Broadway canon, Anatoly is the sitting World Champion, challenged by Freddie. This makes Anatoly’s inversion in “Endgame” rather thematically appropriate. It also foreshadows the inverted ending: in Broadway canon, Anatoly loses. There are some nods between the two, though. In Chess in Concert (now considered the official West End canon by word of Tim Rice), the victory fanfare is an instrumental of “Pity the Child” - which, given it’s Freddie’s leitmotif, makes a lot more sense in Broadway canon, where Freddie wins. Similarly, “Someone Else’s Story” is adopted wholesale, but inverted - from Florence to Svetlana.

[isabelle-moreton]

CHESS: some motivic notes

#2 “The Story of Chess”

All of the melodic material of this piece reappears at intervals throughout the show.

#3 "Merano / What a Scene! What a Joy!”

Florence's "Not yet! They just want to see" is set to melodic material that later appears in "The Deal".

#4 "Commie Newspapers”

Freddie's "I don't believe that they can't see my game" is set to the chorus of "One Night in Bangkok" in recit form, as is Florence's "If you don't like it, then it's up to you".

#5 "Press Conference”

The reporters' "Why do you persist with vicious attacks ... ?" is set to the same melodic material as the intro to "One Night in Bangkok".

#13 "Chess Game #1″

The instrumental material introduced here reappears throughout the show.

#15 “Quartet (A Model of Decorum and Tranquility)”

This number is a heavily contrapuntal reprise of material from "The Story of Chess".

#16 “Florence and Molokov”

The vocal melodic material in this song is important primarily because it reappears as orchestral underpinning throughout the show.

#17 "1956 - Budapest is Rising”

The melodic material introduced by Freddie ("I'd have thought you'd support ...") becomes one of Florence's supporting motifs, although it appears largely in the mouths of her enemies.

#19 "Mountain Duet”

Anatoly and Florence's duet in the allegro section in the middle uses melodic material which will later appear more prominently in "Pity the Child".

Freddie's material is the first appearance of what will later be the backbone of "The Deal".

#21 "Florence Quits”

Musically, this song is another foreshadowing of "The Deal", although it is noticeably bouncier.

#25 "Anatoly and the Press”

A straight, if brief, reprise of "Press Conference", for obvious reasons.

#31 "The Soviet Machine”

Molokov reuses material from "Difficult and Dangerous Times".

The part directly after "From Moscow to the Bering Strait" is a straight reprise of "Hungarian Folk Song" from the Broadway production.

#32 "The Interview”

Walter's opening recit is also a reprise of "Hungarian Folk Song", drawing parallels between him and Molokov (the only two leads to have this melody in CHESS IN CONCERT).

The backbone of Freddie and Anatoly's section is "Press Conference", except even faster and more aggressive. Anatoly's first reply is a reuse of melodic material from "One Night in Bangkok", but he diverges steadily further away from it as time goes on. Freddie is, naturally, singing the melody of the attacking reporters the whole way through.

Freddie and Anatoly's section starts in a lower key, more suitable for Anatoly, a baritone, but as Freddie proceeds to expertly goad and prod him, there is a sharp modulation to a significantly higher key where Freddie (a tenor) is quite comfortable but Anatoly sounds notably strained.

#34 "The Deal (No Deal)”

The Arbiter's opening recit is from "Florence and Molokov".

The orchestral underpinning to Molokov's opening recit is the vocal material from "The Story of Chess".

Svetlana and Anatoly's section is a faster, more aggressive reprise of "Where I Want To Be".

Walter's recit is also "Florence and Molokov".

Florence's section ends with vocal material foreshadowing "Pity the Child".

When "The Deal" proper kicks in, Freddie borrows material from Florence in "What A Scene! What A Joy!". In turn, Anatoly and Florence borrow Freddie's entrance from "Mountain Duet".

The Arbiter's final section is a smash reprise of "Nobody's Side".

#36 "I Know Him So Well”

The horn line under the first chorus is a reuse of vocal material from "Mountain Duet", as is Florence's response to Svetlana in the second verse.

#37 "Talking Chess” A highly rhythmic and mechanical reprise of "Mountain Duet".

#38 "Endgame #1″ The choir line is built around the initial orchestral material from the "Prologue"; this can be thought of as the "Endgame" marker - the beginning of the end - as it is the first block of the long continuous instrumental which points to the end of the show.

#39 “Endgame #2″

Molokov, Freddie and Florence each get a brief request of "1956 - Budapest is Rising".

#40 "Endgame #3 / Chess Game #3″

Anatoly is given the honour of beginning the final detonation - he joins, and adds lyrics to, the "Chess Game" wind line.

The instrumental after Anatoly's victory reuses melodic material from "Pity the Child".

[isabelle-moreton]

Redcliffe Musical Theatre: BACK TO THE 80s

Creative team

Madeleine Johns, executive producer and director Kaitlyn Maxwell, artistic director Brodie Jones, assistant director/choreographer Rebel Lyons, assistant director/assistant wardrobe manager James Bovill, music director Rebel Bliss, choreographer Bruce Noy, technical director/light and sound designer Kim Phillips, properties/wardrobe manager

Production team

Sharon Bapty, producer Alex Kuchmenko, assistant music director (vocal coach) Jonathan Johns, stage manager Adrian Jones, assistant stage manager Nicola Jones, production manager/front-of-house manager Paula Reese, assistant wardrobe manager Lachy Stewart, band leader Suzi Rowan, technical assistant Ben McShea, media liaison 

Band

Guitar: Lachy Stewart Keys 1: James Bovill Keys 1 cover: Terry Million Keys 2: Tod Phillips Saxophone: Ryan Evans Trumpet: Adam Binnie Trombone: Kate Fletcher Bass: Cale Tanner Drums: Bevan Bancroft Drums cover: Ajay Hazzard Drums cover: Stuart McLean

Cast

"Seniors"

Corey Palmer Snr: Michael Mills

Corey Palmer Jnr: Tim Kennedy (u/s Alf)

Tiffany Houston: Kaley Jones (u/s Mel)

Alf Bueller: Liam Hartley (u/s Corey Jnr)

Kirk Keaton: Oliver Catton

Cyndi Gibson: Rebel Lyons

Mel Easton: Giuliana Russo (u/s Tiffany)

Kim Easton: Kristin Sparks (u/s Cyndi)

Michael Feldman: Alex Kuchmenko (u/s Huey)

Billy Arnold: Jimmy Morris

Huey Jackson: Adam Goodall (u/s Michael)

Lionel Astley: Cameron Egginton

Feargal McFerrin III: Jarrad Langtree

Eileen Reagan: Abby Smith

Laura Wilde: Georgia Murray

Debbie Fox: Ashley Prosser

"Faculty"

Miss Brannigan: Sally Kimber

Mr Cocker: Reagan Warner

Mr Cocker (alt.): James Bovill

Adult ensemble

Cheer captain: Jasmine Reese

Cheer co-captain: Ashleigh Hill-Webber

Cheerleader: John Chant

Cheerleader: Alyson Reese

Cheerleader: Cassidy Prosser

Choir soloist: Laney Elson

Chess club member: Eileen Collins

Groupie: Esther McGregor

Everyone's friend: Suzi Rowan

"Sophomores" -- teen ensemble

Madie Beckley

Kayla Pehi

Alice Simpson

Dublin Rose

Theo Todd

Kelly Reedman

Adison Ransley

"Freshmen" -- junior ensemble

Emerson McShea

Makenzi Goodwin

Sienna Randall

Kaia Arkinstall

Lily Prodger

Abbie Gommers

[isabelle-moreton]

If you are doing Vivaldi’s Gloria, please spare your pianist weeks of angst by using S. Skye Donald’s reduction, rather than Vladimir Ursic’s currently more popular reduction.

[isabelle-moreton]

“Endgame” from Chess is one of the most stunning demolitions of a main character in musical theatre history. It arguably beats “Burn” from Hamilton.

[isabelle-moreton]

Mousetrap Theatre Company: BLUEBEARD - A PANTOMIME

Cast

Baron Bluebeard: Tom Burrell

Lurkin: Jonny Lindsay

Mrs Shivers: Louise Pointing

Eli Rockbottom: Ed Bone

Ruby Rockbottom: Jean Bowra

Flora Rockbottom: Bec Mundell

Marie: Tanja Stanley

Fetch: Karen Matthews

Carrie: Paula-Mary Camilleri

Robin: Cameron Egginton

The Butcher: Franck Dance

Ensemble

Diana Borger, James Bovill, Meghan Budinger, Iris Edridge, Elke Gorenflo, Jack Jones, Liam Kirkpatrick, Lexie Lewis, Miranda Matthews, Shauna O'Rourke, Lucas Pointing, Adjoa Sam, Kerri Weaver.

Production team

Doug Harper, producer

Susan Harding-Smith, director

Karen Christl, assistant director

James Bovill, music director

Karen Matthews, assistant music director

Fay Richards, choreographer + costumes

Stephen McLachlan, stage manager + programme

Shirley Budinger, backstage

Alastair McLachlan, backstage

David Scheiwe, sound and lighting lead

Gordon Heath, sound and lighting + sets

Vivian Gao, sound and lighting

Louise Buckley, costumes

[isabelle-moreton]

Fine Structure

A suite of three pieces for two pianos, written October 2014. Incidental music to Sam Hughes’ web novel; titles used with permission.

1st movement: “Unbelievable scenes”

3m 59s. MP3. PDF.

2nd movement: “Power Of Two”

3m 57s. MP3. PDF.

3rd movement: “Crushed Underground”

4m 7s. MP3. PDF.

Additional credits: Synth programming by Nick Rossi.

[isabelle-moreton]

My CV

Education

Queensland Conservatorium Griffith University - Bachelor of Music, majoring in Keyboard. Graduated 2014. Twice received the Griffith Award for Academic Excellence. Invited to join the Golden Key Honour Society.

Ensembles

Enchord a cappella ensemble. Regular bass from 2014 to 2015. Occasional featured vocalist since.

Northside Youth Jazz Ensemble, 2011 to 2014. Keys and additional arrangements.

Redcliffe City Choir, 2016 onward. Pianist. Occasional composer, arranger and featured vocalist.

Events

2014

Ensemble player & u/s Caiaphas in Redcliffe Musical Theatre's Jesus Christ Superstar [Lloyd Webber/Rice] (4-13 April 2014 @ Redcliffe Cultural Centre, Moreton Bay) (Notes: Played Caiaphas on opening night.)

Keys 2 & repetiteur for Dianne Gough Productions' Boadicea: The Celtic Rock Opera [Evans/Stevens/Johnson arr. Whitelock] (27 May - 7 June 2014 @ Roundhouse Theatre, Brisbane).

Keys 3, additional arrangements and additional keyboard programming for SQUIDS Theatrical's The Portrait of Dorian Gray [Wikman, arr. Young/Whiting, based on Wilde] (September 2014 @ Redcliffe Cultural Centre, Moreton Bay).

Keys 2 & assistant repetiteur for ROAR Performing Arts Academy's The Pirates of Penzance [Gilbert/Sullivan] (26-28 September 2014 @ Miller Street Theatre, Moreton Bay).

2015

Keys 1 for SQUIDS Theatrical's CATS [Lloyd Webber/Eliot] (15-23 May 2015 @ Redcliffe Cultural Centre, Redcliffe).

Assistant musical director and assistant repetiteur for, and ensemble player in, Redcliffe Musical Theatre's Music of the Night [Johns] (31 July-2 August 2015 @ Redcliffe Cultural Centre).

Assistant musical director and assistant repetiteur for, and featured vocalist in, Redcliffe Musical Theatre's Born in the USA [Johns] (7-9 August 2015 @ Redcliffe Cultural Centre).

Additional arrangements, additional keyboard programming, and assistant repetiteur for SQUIDS Theatrical's Evita [Lloyd Webber/Rice] (18-26 September 2015 @ Redcliffe Cultural Centre).

Featured vocalist in Redcliffe Musical Theatre's Born in the USA: One Night Only [Johns] (26 November 2015 @ Redcliffe RSL Club).

Keys 2 and additional orchestrations for Redcliffe Musical Theatre's Music of the Night: Caloundra in association with Queensland Philharmonia Orchestra [concert] (12 December 2015 @ Sunshine Coast Function Centre, Sunshine Coast).

2016

Assistant repetiteur for, and Von Hussler in, Redcliffe Musical Theatre's Mary Poppins [Sherman/Sherman/Stiles/Drewe/Fellowes] (4-20 March 2016 @ Redcliffe Cultural Centre).

Keys 1 and repetiteur for Redcliffe Musical Theatre Youth's Beauty and the Beast [Menken/Ashman/Rice/Woolverton] (10-12 June 2016 @ Redcliffe Cultural Centre).

Co-writer (with Asabi Goodman) of, musical director for, and performer in A Dark and Stormy Night [Goodman/Bovill], presented at the Short+Sweet Cabaret Festival Brisbane (between 15 July and 26 August 2016 @ Brisbane Powerhouse, Brisbane).

Doctor Dillamond in, and assistant repetiteur for, Redcliffe Musical Theatre's Wicked [Schwartz/Holzman] (29 July-14 August 2016 @ Redcliffe Cultural Centre). (Notes: Queensland amateur premiere.)

Patrick Simmons in, and incidental music composer for, Mousetrap Theatre Company's A Murder is Announced [Darbon, based on Christie] (30 September-15 August 2016 @ Mousetrap Theatre, Moreton Bay).

Featured vocalist in Redcliffe Musical Theatre’s Naughty Night of the Poms [Johns] (27 November-10 December 2016 @ Anzac Avenue Theatre, Moreton Bay).

Musical director and pianist for, and additional vocals in, Roar Academy*'s Jerry's Girls [Herman/Alford] (20 December 2016).

2017

Musical director, orchestrator and repetiteur for, and ensemble player in, Mousetrap Theatre Company's Bluebeard: A Pantomime [Reakes] (6-15 January 2017 @ Mousetrap Theatre).

Musical director, orchestrator and repetiteur for Roar Academy's Aladdin: A Pantomime [Morley] (13-14 January 2017 @ Anzac Avenue Theatre).

Featured vocalist in Redcliffe Musical Theatre’s Turn Up Your Radio [Johns] (26-28 January 2017 @ Anzac Avenue Theatre, Moreton Bay).

Musical director for Redcliffe Musical Theatre's Back to the 80s [Gooding/Smith/Copeman/Foster] (31 March-9 April 2017 @ Redcliffe Cultural Centre).

Upcoming: Musical director and orchestrator for Mousetrap Theatre Company's Joseph and the Amazing Technicolour Dreamcoat [Lloyd Webber/Rice] (28 July-12 August 2017 @ Mousetrap Theatre).

Upcoming: Orchestrator for Pannic Productions’ The Wall [Pink Floyd/Haden et al.] (11-13 August 2017 @ Redcliffe Cultural Centre).

* Previously ROAR Performing Arts Academy.

Extras

Incidental music for Fine Structure, for two pianos (2014). Accompanies Sam Hughes’ web novel of the same name. Available here.

Incidental music for A Murder is Announced, for solo piano (2016). Accompanies Leslie Darbon’s 1977 stage adaptation of Agatha Christie’s 1950 novel.

[isabelle-moreton]

Mousetrap Theatre Company: A MURDER IS ANNOUNCED

Adapted for the stage by Leslie Darbon

Cast

Miss Marple: Karen Matthews

Letitia Blacklock: Tracey Zielinski

Dora Bunner: Jean Bowra

Inspector Craddock: Marcus Thomas

Julia Simmons: Amanda Burgess

Patrick Simmons: James Bovill

Mitzi: Sandy Adsett

Clara Swettenham: Susan Harding-Smith

Edmund Swettenham: Julian Nicoll

Phillipa Haymes: Isabel Nicoll-Kratochvil

Rudi Scherz: Tom Burrell

WPC Mellors: Jordan Brunne

Team

Director: Karen Christl

Stage manager: Jordan Brunne

Backstage and props: Grace Brunne, Karen Christl, Miranda Matthews

Prompt: Tom Burrell

Lighting & sound: David Scheiwe, Gordon Heath, Vivian Gao

Set: Karen Christl, Gordon Heath, Ian Warnett, Hillary Warnett, Colin Dougherty

Costumes: Fay Richards

Hair: Susan Harding-Smith

Programme: Stephen McLachlan

Incidental music: James Bovill

[isabelle-moreton]

Visit Original Link

Composed for Mousetrap Theatre Company’s September/October 2016 season of A Murder is Announced (Darbon/Christie).

[isabelle-moreton]

Who does what in theatre

Rehearsal pianist: Plays piano at rehearsals. May also be credited as a repetiteur. In ballet, however, a repetiteur is the dancer who teaches the others.

Accompanist: Plays piano in performance, onstage, with a small group. If the group is larger than about three, or the accompanist is offstage, it is generally preferred to credit them as a pianist.

Orchestrator: Arranges music for the band. A lot of productions don't have an orchestrator, as they are using an orchestration licensed from the rightsholder. There are many reasons a production might have an orchestrator, however:

if the show is an original in its first run and has not been orchestrated

if the budget is not available to hire players for even the smallest available orchestration

if parts from the orchestration in use need to be condensed for less players

Synth programmer: Sets up synth instruments so that the patches (different sounds) that synth instruments (like keyboards and synth percussion) use are arranged in the appropriate sequence and can be switched between using two buttons. Without synth programmers, players would have to search frantically for buttons or dial in codes in the near-pitch-darkness of an orchestra pit.

Arranger: Like an orchestrator, but with creative latitude. The 5-piece, 11-piece and 36-piece versions of Jesus Christ Superstar are different orchestrations; the 1992 Australian cast and the 2012 arena cast are different arrangements.

Conductor: Leads the band. May also be one of the band players (usually conductor/pianist).

Music director: Usually the person in overall charge of the show's music. Almost always the conductor, usually the rehearsal pianist, and sometimes the orchestrator.

Assistant music director: Covers whatever work the musical director does, plus possibly having some degree of creative input.

Associate music director: Either the Assistant MD's deputy, or someone brought in to do specialist work (such as keyboard programming). There may be multiple Assoc. MDs.

Music supervisor / production music director: Usually only appears on larger professional productions. Outranks the standard MD and is frequently an orchestrator, arranger, and additional composer; they may also be an additional choreographer.