{"id":8835,"date":"2015-05-31T19:27:02","date_gmt":"2015-05-31T19:27:02","guid":{"rendered":"http:\/\/localhost:8888\/?page_id=8835"},"modified":"2023-02-28T01:50:21","modified_gmt":"2023-02-28T01:50:21","slug":"press","status":"publish","type":"page","link":"https:\/\/allisonleytonbrown.com\/press\/","title":{"rendered":"Press"},"content":{"rendered":"

[vc_row iron_row_type=”full_width” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=”” css=”.vc_custom_1435067748903{padding-top: 150px !important;padding-bottom: 150px !important;background-image: url(https:\/\/allisonleytonbrown.com\/wp-content\/uploads\/2014\/02\/allison_leyton_brown_jazz.jpg?id=9524) !important;}”][vc_column][vc_raw_html]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[\/vc_raw_html][\/vc_column][\/vc_row][vc_row iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=””][vc_column][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=””][vc_column width=”1\/2″][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cAllison recently gave a talk to RTA Post Sound Production students at Toronto Metropolitan University where we discussed the role of music in film, television and other mediums.\u00a0 She’s such a wonderful speaker and her connection to her craft and the students was inspirational.\u00a0 It was an honour to have such an immense talent and experienced professional join our session to share her knowledge and expertise on this topic.\u201d \u00a0– Elizabeth Keay, Professor \/ Post Sound Editor<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cKid-Oriented, Musically Excellent \u2018Pete\u2019 a Fun Ride\u201d: With vivid colors, wonderful fourpart harmony and lively dancing, “Pete the Cat” does just what children’s theater should do: It teaches valuable lessons kids don’t know they’re learning. The world-premiere musical is lush with songs and catchy lyrics.\u201d –\u00a0Betsie Freeman, World Herald, reviewing Pete the Cat: the Musical<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cA fascinating ride. Musical Director Allison Leyton-Brown and the musicians are simply terrific: moody, boisterous, playful, rollicking, or haunting as fits each twist and turn, with some splendid solo moments. The arrangements [by Leyton-Brown] are unusual and often feel like deeper reinventions.\u201d –\u00a0Rob Lester, Talkinbroadway.com, reviewing Tennessee Williams: Words and Music\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cExit the King features actors alongside puppets specially created by renowned puppeteer Basil Twist with original music written by nationally recognized composer Allison Leyton-Brown\u2026 Unlike traditional renditions, this production features a heartbreakingly beautiful score\u2026\u201d \u00a0–\u00a0Nancy Wang, The Duke Chronicle\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cIn addition to her own compelling music and lyrics, [Allison Leyton-Brown] arranged three well-known Neil Young songs for accordion, piano, cello, and percussion. These
\nthree songs, thrillingly sung by the cast on stage, contributed greatly to the show\u2019s powerful emotional tide\u2026 The music and songs, which are as well-ordered as a record album, are well developed and complete in themselves, and are equally necessary to the integrity of the piece.\u201d –\u00a0Kate Dobbs Arial, Classical Voice North Carolina, reviewing The Woman in the Attic\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cFeaturing samba rhythms, urban raps, a cross-dressing reindeer and hip-hop-embracing adolescents, this magical Snow Queen manages to be both undeniably New York and authentically Andersen.\u201d –\u00a0Laurel Graeber, New York Times\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cAs composed and performed by Allison Leyton-Brown and Kaveh Nabatian, the music is used to great effect throughout the show\u2026 the stylish, grave tone is set at once.\u201d –\u00a0Gwen Orel, Theatre Scene, reviewing Hecuba\u00a0<\/span><\/em>[\/vc_cta][vc_empty_space][\/vc_column][vc_column width=”1\/2″][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cLeyton-Brown\u2019s original songs and orchestral music are at times haunting, lush, lyrical, rhythmic\u2026 The music really carries the soul of the piece.\u201d \u00a0–\u00a0Susan Broili, The Herald-Sun, reviewing The Woman in the Attic\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cLeyton-Brown\u2019s physical stance at the keyboard comes closer to Joe Strummer than Dr. John, but she\u2019s got skills that would make Mac Rebennack grin that trademark grin. Allison injected some old school stride into \u201cDon\u2019t Think Twice,\u201d and her vocals on classics like \u201cBig Chief\u201d and \u201cMardi Gras in New Orleans\u201d were right on point. But it\u2019s the little differences she brings that make her Outer Borough\u2019s not-so secret weapon, like the Fender Rhodes sound she brought to the funky original \u201cBQEeze,\u201d or the sizzling Clavinet vibe she conjured up toward the end of the second set that was straight out of Billy Preston\u2019s \u201cOuta Space.\u201d Maybe the traditionalists might freak, but it\u2019s a Brooklyn thing! They wouldn\u2019t understand!\u201d –\u00a0J. Hunter, Albany Jazz<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cObviously your music has an emotional impact.\u201d –\u00a0Terrance McKnight, WNYC, on The Great Apes\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true” ape=”rounded”]\u201cI was simply blown away by the sick fun of How Many Annas, [by Alex Tolk and Allison Leyton-Brown]. So, if you are worried about the future of Broadway, don\u2019t be. There are some mega talented composers, writers, and musical comedy stars coming your way.\u201d –\u00a0Wendy R. Williams, Welcome to the Vault\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cPianist Allison Leyton-Brown, trumpeter Ivan Rosenberg and bass drummer Moses Patrou didn\u2019t sing the words as much as they let them loose\u2026 It was a major release for all concerned, and we were howling for more when it was all done.\u201d –\u00a0J. Hunter, Albany Jazz\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cThe hot rock anthem \u201cDon\u2019t You Go and Get Famous\u201d \u2014 features Allison Leyton-Brown driving the beat at the piano and rattling the rafters\u2026\u201d \u00a0–David Finkle, BackStage, reviewing Together Again\u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-right” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cLancaster starts strumming and then singing a duet of \u201cClose to You\u201d with Leyton-Brown on the piano. The two are so enthusiastically committed that I\u2019m pulled to take my gaze off of the dancing to watch them sing. This is quite a feat, as Nugent and Matteson are a partnership to pay attention to\u2026\u201d –\u00a0Maura Nguyen Donohue, The Dance Insider \u00a0<\/span><\/em>[\/vc_cta][vc_cta h2=”” add_icon=”top” i_icon_fontawesome=”fa fa-quote-left” i_color=”white” i_background_style=”rounded” i_background_color=”black” i_size=”sm” i_on_border=”true”]\u201cAllison Leyton-Brown and Stephen Tomac laced the torment with chilling original songs\u2026\u201d –\u00a0Orla Swift, The News & Observer, reviewing The Trojan Women\u00a0<\/span><\/em>[\/vc_cta][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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