Heath Brown Composer

Film, TV, Theatre, Performance

+61 423 600 715

Red Racing Hood (Terrapin Puppet Theatre) - Children's Puppet Theatre

It is an unwritten law of the theatre that the technical elements such as lighting, sound and projections should blend invisibly into a production. So these often go unnoticed and remarkable work passes unremarked. Red Racing Hood features music and sound design by Heath Brown and lighting and AV design by Jason James. Their work is thoroughly integrated; it is also radiantly unignorable... Brown’s music is witty, detailed, painstakingly precise and adds depth and excitement.
— Robert Jarman - The Mercury

The Shadows Calling

An operatic soundscape composed by Heath Brown and Alyson Patmore lulls the viewer further into the space to discover a field of surreal flower buds whose appearance sits somewhere between H.R. Giger’s character design and 18th century botanical illustration.
— Briony Downes - Artguide

Big Baby (Terrapin Puppet Theatre) - Children's Puppet Theatre

Refreshingly free of text, an emotionally evocative soundtrack – including the original music of composer Heath Brown – largely drives the show’s narrative.
— Gai Anderson - Write Response

Director Sam Routledge has created some fine cinema-style sequences, well supported by an uplifting score (a talented Heath Brown)
— Michael McLaughlin - The Mercury

Aside from a couple of poetic monologues, the show is non-verbal. As such, music and sound design is especially crucial. Composer Heath Brown adeptly takes us from whimsy to melancholy and back again and shifts into pop culture mode as required, as in the climactic showdown scene between Big Baby and arch-nemesis, the vacuum cleaner.
— Briony Kidd - RealTime Arts

The Geometry of Innocent Flesh on the Bone - Installation Work

Equally enjoyed alone, The Geometry of Innocent Flesh on the Bone is a collaboration between artist Oscar Ferreiro and composer Heath Brown where robotic devices are strapped to sections of bone, mounted to the back of a plywood ‘animal.’ Surface mikes on the robotics feed sound back into the work composed by Brown. Deep, regular pulses within the composition, layered against the irregular, robotic squeaks of the devices, create the illusion that I share a lair with sleeping beasts.
— Judith Abell - RealTime Arts

41 (Dark Epic Films) - Feature Film


Article on winning the Maverick Movie Awards' Best Original Score Category - The Mercury

The Boy With The Longest Shadow (Tas Theatre Co.) - Children's Theatre

Excellent sound design
— Michael McLaughlin - The Mercury

One factor that won me over more than any other though was the music... It’s a strong mix that is complemented by an effectively Morricone-like score from Heath Brown.
— David Brook - http://www.rowthree.com/

The musical score really invokes that old “grindhouse” feeling much better than many other bigger budgeted films that have tried to capture that.
— Nekoneko - http://nekonekomovielitterbox.wordpress.com/

Great use of sound and music. The finale scene got really intense with the use of the bass. And I dig myself some oldie-style music!
— Ronny - http://www.filmbizarro.com/

Myth, Propaganda and Disaster in Nazi Germany and Contemporary America (Old Nick Theatre Co.) - Theatre

Heath Brown’s sound design…. is a cracker
— Richard Bladel, The Mercury

Death By Television (Tas Theatre Co.) - Theatre

A rich light and sound plot
— Robert Jarman, The Mercury