Ross graduated from the University of Glasgow with an MA in Music and works as a Composer, Musical Director and Sound Designer.
Theatre Credits include: The Steamie (SSE Hydro); Breath Cycle 2 (Scottish Opera); A New Life (Òran Mór/Traverse Theatre); Submarine Time Machine, Tin Forest- IPC (National Theatre of Scotland); Ma, Pa and the Little Mouths (Tron Theatre/National Theatre of Scotland); The Steamie- 30th Anniversary Tour (Neil Laidlaw Productions); The Steamie, Deathtrap, Witness For The Prosecution, And Then There Were None (Dundee Rep): Olive The Other Reindeer, Ghosts, Three Sisters, Ulysses, Edwin Morgan's Dreams & Other Nightmares (Tron Theatre); Divided City (Citizens Theatre); A Rerr Terr (The Dolls); And The Beat Goes On (Random Accomplice/Perth Theatre); Our Country's Good (Royal Conservatoire of Scotland/Tron Theatre); Doras Dùinte (Òran Mór/Mull Theatre/Theatre Gu Leòr); Harold & Maude (Glasgay/Theatre Jezebel); A Steady Rain, Lady M (Theatre Jezebel); Clockwork (Visible Fictions/Scottish Opera); In an Alien Landscape, The Man Who Lived Twice, Mother Courage (Birds of Paradise); Music Makes the Memories (Pavilion Theatre, Glasgow).
Pantomime Credits Include: The Wonderful Wizard Of Oz, Olive the Other Reindeer, Cinderfella, Mammy Goose, Alice In Weegieland, Snaw Queen, Sleeping Betty, Miracle on 34 Parnie Street, Peter Panto, Aganeza Scrooge, Flo White, Mr Merlin (Tron Theatre); Pinocchio (Pavilion Theatre, Glasgow).
Dance Credits include: Vessel, Safe to be Me (Scottish Ballet); Generation Dance (YDance/Scottish Ballet).
Community Engagement and Participation Projects include: The 306:Dawn (National Theatre of Scotland); Heritage Project (OYCI); Trajectories, A Present State, Chimera (Tron Studio Community Company); Pushing It, Dead Letter Detectives (Tron Youth Theatre); Bridgeton Umbrella (Culture Junction); Go For Gold (Glasgow City Council/European Championships 2018); Hotel de Promenade, Superteen, Class of 11 and Beginnings (Youth Music Theatre UK); Tall Tales and Small Wonders, How to Create an Avatar (Glasgow City Council); Aim High (MT4UTH- Belfast); Big Man Festival (Impact Arts); Summer School (Citizens Theatre); News Just In Easterhouse (Platform). He has also taught singing at UK Theatre School, The Dance Academy and delivered voice workshops for Toonspeak .
As Associate Artist for Scottish Youth Theatre Ross worked on several productions including: Elevate (Stornoway), Dye in the Goldfish Bowl, The Tempest, Thebans, Mary Queen of Scots Got Her Head Chopped Off, A Midsummer Night's Dream, Court of Miracles, Prom Night of the Living Dead, Pinocchio, Geordie, His Dark Materials, When A Star Falls, Wee MacGreegor, Tam O'Shanter and Freckleface Strawberry. Ross also arranged a selection of Robert Burns songs which were performed in New York as part of Scotland Week. He has been invovled in such projects as Time to Shine: Shetland and The Borders Railway Opening Celebrations.
Workshop/Development Credits: Lager Ladies (National Theatre of Scotland); To Save The Seas (Sleeping Warrior); Jason And The Argonauts (Kenny Wax Ltd/SYT); Purge (Random Accomplice).
TV Credits: Mr Fey/Musical Director for Half Moon Investigations (BBC); Sound design used in James Joyce Goes to China (BBC).
Current Projects include composing the music for the UCI World Cycling Championships Opening Ceremony (George Square), Nae Expectations and Aganeza Scrooge (Tron Theatre). .
For further information, full CV or enquiries please visit the "Contact" page.
Reviews
"... The Wizard Oz, bereft of the Disney songs for copyright reasons, but with terrific alternatives supplied in style by musical director and composer Ross Brown."
-Joyce McMillan on The Wonderful Wizard of Oz (The Scotsman) "Some terrific new songs by musical director Ross Brown" -Joyce McMillan on Olive The Other Reindeer (The Scotsman) "And all the great steamie songs – from Andy’s hilarious version of The Big Picture, through Doreen’s Dreams Come True, to Magrit’s great mother’s anthem Labour Of Love – are not only in place, but magnificently delivered, thanks to musical supervisor and arranger Gordon Dougall, and musical director Ross Brown and his band." -Joyce McMillan on The Steamie (The Scotsman) "This production also features a 4-piece live band under the direction of MD Ross Brown that adds a real boost" -Brett Herriot on The Steamie (ScotsGay Arts) "Ross Brown’s musical numbers and Eva Forrester’s choreography ring with contemporary pop charm." -David Pollock on Cinderfella (The Stage) "I'm open to bribing somebody to help me get my hands on some sort of cast recording." -Natalie O'Donoghue on Cinderfella (Broadway World) "Ross Brown is yer man for making the music swingalong grand style." -Mary Brennan on Cinderfella (Herald) "the songs are as witty as the text, with composer and musical director Ross Brown collaborating on seriously funny and timely songs." -Joyce McMillan on Cinderfella (The Scotsman) "Ross Brown's insistent score recalls John Carpenter's spine-tingling music for his horror films." -Allan Radcliffe on Deathtrap (The Times) "Excellently scored by Ross Brown" -Mark Fisher on Mammy Goose (The Guardian) "Ross Brown's spot-on sound design enhances matters greatly." -Hugh Simpson on Ma, Pa and the Little Mouths (All Edinburgh Theatre) "Ross Brown’s evocative score crackles with static malevolently Lynchian low humming." -Lorna Irvine on Ma, Pa and the Little Mouths (The Stage) "This effect is heightened by Ross Brown's shimmeringly atmospheric soundscape, which underscores proceedings like a BBC Radiophonic Workshop interpretation of Stockhausen." -Neil Cooper on Lady M (The Herald) 'Ross Brown’s songs are rowdy and hilarious..." -Joyce McMillan on Miracle On 34 Parnie Street (The Scotsman) "Ross Brown's tunes are fabulous and catchier than the average panto." -Lorna Irvine on Miracle On 34 Parnie Street (The List) "The skycraper penthouse with its grand piano, black satin and petals on the floor suited Cunningham's Sheldon well as did the musical director and composer, Ross Brown, accompanying on the piano as Sheldon's assistant Ernst. The songs were befitting the period, with Gielgud particularly singing rather like Noël Coward." -Seth Ewin on The Man Who Lived Twice (British Theatre Guide) "...powerfully supported by composer Ross Brown as pianist and manservant." -Joyce McMillan on The Man Who Lived Twice (The Scotsman) "enhanced by musical director Ross Brown’s subtly sardonic performance as Sheldon’s piano-playing carer, Mr Ernst." -Mark Brown on The Man Who Lived Twice (Sunday Herald) "Add to this the outstanding set and costume design by Charlotte Lane (as brilliant in its theatrical utility as in its perfect, vertiginous period aesthetic), Sergey Jakovsky’s superbly appropriate lighting and Ross Brown’s almost imperceptibly well-attuned sound, and you have a truly remarkable theatre presentation of a novel long considered to be unstageable." -Mark Brown on Ulysses (Sunday Herald) "The haunting music by Ross Brown makes for a lovely soundtrack behind the action and draws you into the intense atmosphere." -Susannah Radford on Doras Dùinte (The Skinny) "Ross Brown's original score sounds like the missing link between Godspell and The Wicker Man" -Neil Cooper on A Midsummer Night's Dream (The Herald) "Ross Brown's eclectic score – from a Sparks-like number, to a calypso paean to tea – are a catchy addition." -Lorna Irvine on Alice In Weegieland (The List) "...special praise is due to the singers whose beautifully arranged songs were performed with precision and feeling." -Caron Lindsayon A Midsummer Night's Dream (Festival Journey) "Ross Brown’s ambient yet atmospheric sound design underscores the whole thing beautifully." -Christine Irvine on Our Country's Good (TV Bomb) "...amidst a slew of fun musical numbers which merge contemporary and musical theatre influences..." -David Pollock on Aganeza Scrooge (The Independent) "Ross Brown's compositions and overall sound design added frenetic energy when needed and also suggested a sense of urban decay." -Marianne Gunn on Dye in the Goldfish Bowl (The Herald) "The versatile, six-strong cast switch among multiple roles with zest; the songs, composed by Ross Brown, are catchy." -Allan Radcliffe on Snaw Queen (The Times) "The quality of talent is exceptional and the song and dance numbers are worthy of any West End musical." Natalie O'Donoghue on Alice In Weegieland (Broadway World) "The fun comes fast and furious, with some fine songs by musical director Ross Brown." -Joyce McMillan on Alice In Weegieland (The Scotsman) "Composer Ross Brown sprinkles the show with a series of cleverly comic songs, including a Queen-style rock opera number for the arrival of the Queen of Hearts and an innuendo-laden, Carry On-style love song." -Mark Brown on Alice In Weegieland (Sunday Herald) |
Tin Forest- National Theatre of ScotlandSubmarine Time Machine- National Theatre of Scotland
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