Heath Brown Composer

“This minimal design is complemented by Heath Brown’s delicate sound score which suggests waves, the insect-like sounds of a tattoo gun, and the movement of blood and fluid.”

“This play is resonant on so many levels and this is supported by the sound, set and lighting. John is a swimmer. Audio of water evokes the placental soup which calms him, the whale calls of life under the sea and in the womb. ”

“All of this is expertly sequenced to an evocative soundtrack by Heath Brown and superb lighting by Jason James. ”

“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.”

“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.”

“Refreshingly free of text, an emotionally evocative soundtrack – including the original music of composer Heath Brown – largely drives the show’s narrative.”

“Director Sam Routledge has created some fine cinema-style sequences, well supported by an uplifting score (a talented Heath Brown)”

“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.”

“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.”

“Excellent sound design”

“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.”

“The musical score really invokes that old “grindhouse” feeling much better than many other bigger budgeted films that have tried to capture that.”

“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!”

“Heath Brown’s sound design…. is a cracker”

“A rich light and sound plot”