Donald Hall


harps010 311x424After this he moved into the theatre, which went on to consume the major part of his career. Working first as a repetiteur and arranger, he has gone on to compose the scores to over one hundred and fifty productions, ranging from full operas through to hip hop settings of Shakespeare. He has composed music for productions with most of the major theatre companies and festivals in Australia, including the Queensland Theatre Company, the Sydney Theatre Company, The Melbourne Theatre Company, Malthouse Theatre, Melbourne, Belvoir Street Theatre, Sydney, Adelaide Festival, Sydney Festival, Perth Festival, Brisbane Festival, Queensland Opera, and for twenty years was music director for Bryan Nason’s celebrated touring Shakespearean company Grin and Tonic. Outside Australia, he has written music for the National Theatre, London and the Royal Shakespeare Company. He played piano at the Savoy and the London Fields Pub, read Philosophy at Oxford and was a tutor for singers at the Madrid Conservatorium. 

Away from theatre he has composed for Channel TenTelevision, SBS Television and ABC Radio. His favourite scores from his time in the theatre were a massive score for Bertholdt Brecht’s Caucasian Chalk Circle, commissioned by the Queensland Performing Arts Trust, Shakespeare’s The Tempest, commissioned by Paul Sherman and the Brisbane Arts Theatre, and Garcia Lorca’s Bodas de Sangre, commissioned by the Queensland University of Technology. Shakespeare has been his constant colleague, and he has composed four different scores for productions of Hamlet, six scores for MidsummerNights Dream, three scores for Macbeth, The Winter’s Tale, Twelfth Night and The Tempest as well as duplicates of most of the remaining comedies and tragedies, and dozens of silly setting of the songs of Shakespeare for schools, in the style of Elvis, Madonna etc. 

During this time he was appearing frequently as a solo pianist in recital series at the Queensland Performing Arts Centre, where he had the distinction of performing solo more often than any other artist in the Twentieth Century. 

He came to the harp through theatre, having composed the score for the Queensland Theatre Company’s enormous twenty-first anniversary production of The Epic of Gilgamesh for well-known Australian harpist Mary Doumany, whose fee was so high that the administrator suggested to me that it would be cheaper to buy a harp and learn to play it oneself before the show opened. Which is what happened. The resultant press reviews were so overwhelmingly favourable, that he began playing more frequently, eventually adding little bits of harp to his piano recitals. He has since gone on to perform as a harpist in theatre, opera, ballet and concert. and record the European repertoire with quartet Viva La Musica, the Celtic repertoire with the trio Paddytown and the Persian repertoire with the Middle-Eastern quartet Khidir. He has supported international artists such as Stephane Grapelli, Otmar Liebetz, Marianne Faithful and The Chieftans during their Australian tours.

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