Awards & Reviews
Tony Award nomination; “The Cripple of Inishmaan”, Broadway (as composer & sound designer)
South Bank Award winner; “Nineteen Eighty Four”, Northern Ballet (composer)
Music + Sound Award winner; “Best Feature Film score” for “McCullin” (composer)
BAFTA nomination “Best Documentary” and “Outstanding Debut”; McCullin
Olivier nomination Best Sound Design (as music associate with Underworld);  “Frankenstein” at the National Theatre


The EL Train, Hoxton Hall;

“…the staging is bleakly beautiful, the original score by Alex Baranowski sensational, the performances brutally truthful.” Jane Shilling, The Telegraph ****

The Cripple of Inishmaan, Broadway;

“…Alex Baranowski’s gently mournful music conveys the earthbound mortality within airy storybook quaintness.” Ben Brantley, New York Times *****

Nineteen Eighty-Four, Northern Ballet, Sadler’s Wells;

“The show’s richest source of imaginative texture is Alex Baranowski’s ravishing score, mournful and agitated by turns and played live by the Northern Ballet Sinfonia” The Times ****

“…choreographer Jonathan Watkins has created a piece which is clever, consistent and powerful; assisted by an extremely impressive new musical score by Alex Baranowski… it is a brave new ballet.” Mark Brown, The Telegraph ****

“Alex Baranowski’s composition is that rare example of a new bespoke score for ballet that works at first hearing, providing a richly diverse tapestry as a descriptive overlay to Watkins’ choreography. It has a surprising quality of Russianness, with an assortment of 19th and 20th century references” Graham Watts, Bachtrack ****

“Integral to this visual feast, and adding much to the overall effect, is the superb musical score intricately woven together by Alex Baranowski. The rich musical dynamic which he and the live orchestra provides, enables both dancers and audience to enter fully into the pervading atmosphere and zeitgeist… we are taken on a total theatre roller-coaster ride from dark and disturbing to a remote place of love and hope, and back again.” Peter Grey, Reviews Hub ****

A Streetcar Named Desire, Young Vic;

“Benedict Andrews’s direction has some powerful pluses.. Alex Baranowski’s music is a powerful accompaniment, from dreamy ambient to Southern grunge, and the production also uses well-known songs to great effect.” Christopher Hart, The Sunday Times ****

Cymbeline, Sam Wanamaker Playhouse;

“…accompanied by composer Alex Baranowski’s hauntingly interweaving cellos, this Cymbeline reaches a transcendent plane of forgiveness, serene peace and joy that genuinely feels like salvation” Kate Bassett, The Times ****

Twelfth Night, Royal Exchange Theatre;

“Alex Baranowski’s music isn’t just the food of love, but drip-feeds the production’s life-blood, with fiddler Kate Young leading a band playing a mix of folksy melodies and moody off-beat sounds integrated within the action.” The Stage ****

“…the soundscape of the production is so compelling… Alex Baranowski’s score has a vaguely Armenian flavour, and the dark ululations of the folk fiddler and vocalist Kate Young provide an atmospheric introduction, leading a slow cortege in honour of Olivia’s deceased brother. But this production does not remain in a minor key for long, even if O’Donnell restores the melancholy at the end with a bewitching, torch-song rendition of The Wind and the Rain that brings a new meaning to the line, “When I was but a little tiny boy”.” The Guardian ****

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