Kelly Ryall
Music for Theatre, Film, Dance and Performance
Kelly Ryall is an award winning composer, sound artist and devisor, working in the realm of theatre, film and dance. Whilst working predominately as a composer he has been a key collaborator and deviser in most of the works he has been involved with. His primary interest in music and sound is creating work that is immersive and visceral with the aim of taking listeners on a journey through their own internal and external landscapes. As a composer he also likes to perform his music live allowing the performer /audience relationship to enhance the compositions.
Over the years he has also played and toured with many different bands in Melbourne, but predominantly with High Pass Filter 1995-2004, touring nationally and internationally and performing with bands such as Beastie Boys, Fugazi, Lee Scratch Perry and Tortoise.
Awards
In 2009 he received 2 Green Room awards for Love Monkey and Coop,
in 2007 he received the Melbourne International Arts Festival Award
in 2005 received both a Green Room Award and Fringe Festival Award for outstanding composition and sound design.
His recent works include
Macbeth (Bell Shakespeare), The Boys (Griffin, Sydney Festival), Return To Earth (MTC), And No More Shall We Part (Griffin), Julius Caesar (Bell Shakespeare), Die Winterreisse (Thin Ice/Malthouse, Brisbane Festival), Sundowner (KAGE), Save For Crying (Angus Cerini), Expectation (Carlee Mellow, Arts House), The Trial (Malthouse, STC, ThinIce), Dead Man's Cell Phone (MTC), Love Me Tender (Company B, Griffin and Thin Ice), The Man With The September Face (Full Tilt), The Harry Harlow Project (Full Tilt), One Night The Moon (Malthouse), God Of Carnage (MTC), Thom Pain (B Sharp), Savage River (Griffin, MTC, TTC), Red Sky Morning (Red Stitch), Mr Freezy (Arena Theatre Co), Pieces for Small Spaces (Lucy Guerin Inc), One Night-shortfilm (Alexandra Schepisi), Don't Say The Words (Griffin Theatre Co, TTC), The Glory (Hothouse Theatre co), Coop (Black Hole Theatre co), The Meat Show (The Town Bikes), Mercury Fur (little death/Griffin), Wretch, Chapters from the Pandemic, Detest, Saving Henry V5 and Puppy Love (Angus Cerini's Doubletap), Chocolate Monkey, Space Monkey and Love Monkey (The Amazing Business).
For a sampler of Kelly's work please go here
Recent Press
For The Boys.
……loudly amplified by the savage strokes of Kelly Ryall's score, which, like Bernard Herrmann's ''shower scene'' for Psycho, embodies the brutality of a crime we hardly dare imagine.
Jason Blake, Sydney Morning Herald, 13 Jan 2012
For Die Winterreise.
"Perhaps most impressive of all technical elements is Kelly Ryall's sound design. Carefully crafted reverb and heightened amplification of the sound of O'Hara's breathing, or Shevtsov's chopping of vegetables, for example, coupled with live looping create a sonic landscape that primes the audience's sensory response to the work to an almost uncomfortable degree.…. the performance of the sound operator is as intricate and impressive as the performances of the four men on stage."
Julia Sutherland, TheatrePeople.com.au, July 25th 2011
For Expectation.
"Ryall's musical composition is a highlight with live onstage sound such as Mellow's random vocalising looped into the sound design. In a sense, the music and performance are interdependant, informing and inspiring one another in each individual performance of Expectation..."
Saturday Age - 13 nov 2010
For The Trial.
"Kelly Ryall’s brilliant sound design is one of the most textured and dramatically active I've experienced: it's a world in itself, paranoid and inscrutable, of half heard human voices, technological noise, irritating beeps, acoustic echoes punctuating the spoken text"
Alison Croggon - Theatre Notes, 2010
"Much credit for the success of this production goes to Kelly Ryall and his brilliant sound design, a near-constant score of sepulchral echoes, whispering, techno-buzz and jarring noise"
Jason Blake - Sydney Morning Herald - 2010
Over the years he has also played and toured with many different bands in Melbourne, but predominantly with High Pass Filter 1995-2004, touring nationally and internationally and performing with bands such as Beastie Boys, Fugazi, Lee Scratch Perry and Tortoise.
Awards
In 2009 he received 2 Green Room awards for Love Monkey and Coop,
in 2007 he received the Melbourne International Arts Festival Award
in 2005 received both a Green Room Award and Fringe Festival Award for outstanding composition and sound design.
His recent works include
Macbeth (Bell Shakespeare), The Boys (Griffin, Sydney Festival), Return To Earth (MTC), And No More Shall We Part (Griffin), Julius Caesar (Bell Shakespeare), Die Winterreisse (Thin Ice/Malthouse, Brisbane Festival), Sundowner (KAGE), Save For Crying (Angus Cerini), Expectation (Carlee Mellow, Arts House), The Trial (Malthouse, STC, ThinIce), Dead Man's Cell Phone (MTC), Love Me Tender (Company B, Griffin and Thin Ice), The Man With The September Face (Full Tilt), The Harry Harlow Project (Full Tilt), One Night The Moon (Malthouse), God Of Carnage (MTC), Thom Pain (B Sharp), Savage River (Griffin, MTC, TTC), Red Sky Morning (Red Stitch), Mr Freezy (Arena Theatre Co), Pieces for Small Spaces (Lucy Guerin Inc), One Night-shortfilm (Alexandra Schepisi), Don't Say The Words (Griffin Theatre Co, TTC), The Glory (Hothouse Theatre co), Coop (Black Hole Theatre co), The Meat Show (The Town Bikes), Mercury Fur (little death/Griffin), Wretch, Chapters from the Pandemic, Detest, Saving Henry V5 and Puppy Love (Angus Cerini's Doubletap), Chocolate Monkey, Space Monkey and Love Monkey (The Amazing Business).
For a sampler of Kelly's work please go here
Recent Press
For The Boys.
……loudly amplified by the savage strokes of Kelly Ryall's score, which, like Bernard Herrmann's ''shower scene'' for Psycho, embodies the brutality of a crime we hardly dare imagine.
Jason Blake, Sydney Morning Herald, 13 Jan 2012
For Die Winterreise.
"Perhaps most impressive of all technical elements is Kelly Ryall's sound design. Carefully crafted reverb and heightened amplification of the sound of O'Hara's breathing, or Shevtsov's chopping of vegetables, for example, coupled with live looping create a sonic landscape that primes the audience's sensory response to the work to an almost uncomfortable degree.…. the performance of the sound operator is as intricate and impressive as the performances of the four men on stage."
Julia Sutherland, TheatrePeople.com.au, July 25th 2011
For Expectation.
"Ryall's musical composition is a highlight with live onstage sound such as Mellow's random vocalising looped into the sound design. In a sense, the music and performance are interdependant, informing and inspiring one another in each individual performance of Expectation..."
Saturday Age - 13 nov 2010
For The Trial.
"Kelly Ryall’s brilliant sound design is one of the most textured and dramatically active I've experienced: it's a world in itself, paranoid and inscrutable, of half heard human voices, technological noise, irritating beeps, acoustic echoes punctuating the spoken text"
Alison Croggon - Theatre Notes, 2010
"Much credit for the success of this production goes to Kelly Ryall and his brilliant sound design, a near-constant score of sepulchral echoes, whispering, techno-buzz and jarring noise"
Jason Blake - Sydney Morning Herald - 2010
News
4-07-11
Well Julius Caesar for Bell Shakespeare has opened as is now on the road for the next 5 months, check the Bell Shakespeare website for tour dates.
It was a amazing experience working on Julius Caesar, great cast and creatives and an honour to work with text from the great man.
Next, working with Griffin Theatre and Sam Strong on Tom Holloway's, And No More Shall We Part, more soon..
Well Julius Caesar for Bell Shakespeare has opened as is now on the road for the next 5 months, check the Bell Shakespeare website for tour dates.
It was a amazing experience working on Julius Caesar, great cast and creatives and an honour to work with text from the great man.
Next, working with Griffin Theatre and Sam Strong on Tom Holloway's, And No More Shall We Part, more soon..
20-05-11
Just finished a 3 week development on a piece titled Rooster. Rooster is another project from the mind of Angus Cerini, the concept at this early stage was basically to see whether two Melbourne composers, Jethro Woodward and myself could work together and create music. And I can say after just finishing today, we can and did. It was a great experience and I am looking forward to the next stage sometime in the future.
Next up, Monday morning I start with Bell Shakespeare on Julius Caesar, I will fill in some more details as the project progresses.
Just finished a 3 week development on a piece titled Rooster. Rooster is another project from the mind of Angus Cerini, the concept at this early stage was basically to see whether two Melbourne composers, Jethro Woodward and myself could work together and create music. And I can say after just finishing today, we can and did. It was a great experience and I am looking forward to the next stage sometime in the future.
Next up, Monday morning I start with Bell Shakespeare on Julius Caesar, I will fill in some more details as the project progresses.
24-03-11
I've been a bit lax in keeping up the news, but here tis.
My first major project for the year was Angus Cerini's "Save For Crying" which had it's debut at La Mama in February. It sold out very quickly and had an amazing response from audience and critics.
Next I slipped back into KAGE mode and started the final rehearsals for Sundowner that opens next month for the Castlemaine Festival.
And now I am in the midst of Die Winterreise, a work commissioned by Thin Ice and Malthouse Theatre. The project is a reworking of the classic Schubert song cycle. the piece has been re-imagined for dance, performance and of course song. Stay tuned for more details.
I've been a bit lax in keeping up the news, but here tis.
My first major project for the year was Angus Cerini's "Save For Crying" which had it's debut at La Mama in February. It sold out very quickly and had an amazing response from audience and critics.
Next I slipped back into KAGE mode and started the final rehearsals for Sundowner that opens next month for the Castlemaine Festival.
And now I am in the midst of Die Winterreise, a work commissioned by Thin Ice and Malthouse Theatre. The project is a reworking of the classic Schubert song cycle. the piece has been re-imagined for dance, performance and of course song. Stay tuned for more details.
30-11-10
The final project for the year, the last 3 week development and rehearsal for KAGE's Sundowner, the first performance season for the project is in March 2011.
The final project for the year, the last 3 week development and rehearsal for KAGE's Sundowner, the first performance season for the project is in March 2011.
18-10-10
Currently in week three of making a work with dancer/choreographer Carlee Mellow titled "Expectation", its debut season will be with Arts House at the North Melbourne Town Hall, from Tues the 9th to Sun the 14th of November. The piece is an ongoing exploration of live music/sound and Dance, where the sound is only gathered from the live performance and then manipulated back at the dancer creating a live conversation and feedback loop between us.
The collaboration began 2 years ago with a 10 minute performance for Lucy Guerin's "Pieces for Small Spaces" a mini festival of short works.
Currently in week three of making a work with dancer/choreographer Carlee Mellow titled "Expectation", its debut season will be with Arts House at the North Melbourne Town Hall, from Tues the 9th to Sun the 14th of November. The piece is an ongoing exploration of live music/sound and Dance, where the sound is only gathered from the live performance and then manipulated back at the dancer creating a live conversation and feedback loop between us.
The collaboration began 2 years ago with a 10 minute performance for Lucy Guerin's "Pieces for Small Spaces" a mini festival of short works.
29-09-10
Two days into the development of a new work by KAGE titled Sundowner. The piece is a combination of theatre and dance with a fairly complex soundtrack that I should get back to.
Two days into the development of a new work by KAGE titled Sundowner. The piece is a combination of theatre and dance with a fairly complex soundtrack that I should get back to.
24-09-10
With the Sydney season of the Trial opened and under way, I made my way to Brisbane for the opening of another show, "Wretch" by Angus Cerini. I was also in Brisbane for the first stage of development on a new work that will have its first season early in 2011. The new work is an interpretation of Schubert's Die Winterriese, to be performed as part song, dance and text.
With the Sydney season of the Trial opened and under way, I made my way to Brisbane for the opening of another show, "Wretch" by Angus Cerini. I was also in Brisbane for the first stage of development on a new work that will have its first season early in 2011. The new work is an interpretation of Schubert's Die Winterriese, to be performed as part song, dance and text.
31-08-10
Yesterday I started on the remount of Red Sky Morning for Red Stitch and Performing Lines. It starts a 2 month national tour in just over a week taking it from Toowoomba (Qld) to Murray Bridge (SA) and many other places in between. You can find the full tour schedule here at the Performing Lines website.
Yesterday I started on the remount of Red Sky Morning for Red Stitch and Performing Lines. It starts a 2 month national tour in just over a week taking it from Toowoomba (Qld) to Murray Bridge (SA) and many other places in between. You can find the full tour schedule here at the Performing Lines website.
16-08-10
For the last 5 weeks I have been working on a version of Kafka's The Trial, a co-proudction with The Malhouse Theatre, Sydney Theatre Company and ThinIce. Opens this week (18-08-10) at the Malthouse in Melbourne, then continues to Wharf One, Sydney Theatre Company (09-09-10) and then to Subiaco Arts Centre (Perth), ThinIce (22-10-10)
For the last 5 weeks I have been working on a version of Kafka's The Trial, a co-proudction with The Malhouse Theatre, Sydney Theatre Company and ThinIce. Opens this week (18-08-10) at the Malthouse in Melbourne, then continues to Wharf One, Sydney Theatre Company (09-09-10) and then to Subiaco Arts Centre (Perth), ThinIce (22-10-10)
