Many thanks to all of my colleagues who have contributed so generously to this page.  I guess this is what it would be like to be floating amongst the rafters at your own funeral - listening to all of the nice things (hopefully!) which people have to say about you...

Composers and Musical Supervisors

GARY YERSHON - composer - OSCAR nominated for Mike Leigh’s film Mr Turner.  Much other film and theatre work, including Royal Shakespeare Company:
"On Noughts and Crosses for the RSC, I was indebted to Malcolm's superb musicianship.  He's a warm-hearted and enthusiastic collaborator."

PAUL ENGLISHBY - composer - EMMY award winner for film Page Eight with Bill Nighy.  Other films include An Education, and A Royal Night Out.  Also BBC1’s The Musketeers and Luther.  For Royal Shakespeare Company’s Death Of A Salesman:
"Working with Malcolm is always a joy.  His infectious enthusiasm and fun, allied to his dedication to the project in hand, and first rate musicianship, make him a go-to Musical Director.”

THOMAS HEWITT JONES – BBC Young Composer winner 2003.  Working in fields of orchestra (incl. Olympics 2012), pop (incl. Bjork) and theatre incl. Rumpelstiltskin:
"Malcolm has been the best MD we could have hoped for on Rumpelstiltskin.  His stunning musicianship is matched by his equally brilliant way with singers, and it was a joy to have him running the show throughout the two productions so far.  His impeccable attention to detail is extremely impressive, and he is excellent at shaping new material.  He is also an absolute gent.  Malc leads a company brilliantly while miraculously managing to keep everybody happy.”

KEITH CLOUSTON - theatre composer for David Farr and Royal Shakespeare Company Julius Caesar (2004-5) and King Lear (2010-11) - RSC in Stratford-upon-Avon. The UN Inspector (2005) at THE NATIONAL THEATRE:
"Malcolm was very thorough in his preparations and remained remarkably patient at all times as he sought to translate into a playable score my frequently eccentric musical demands.  Sometimes, as in Julius Caesar, these involved no ‘real’ instruments at all, but electronic samples loaded into drum machines.  Or, as in King Lear, they involved using hanging & tubular bells and bits of scrap metal & jerry-cans as percussion instruments, in addition to conjuring up the sound of a thunderstorm by striking the strings of a piano with percussion mallets.  In The UN Inspector part of his work was to lead an onstage balalaika quartet in a rendition of Kylie Minogue’s ‘Can’t Get You Out Of My Head’ while playing a bass balalaika bigger than himself!  All of these demands Malcolm successfully carried off with aplomb and always with a smile.”

MAX RINGHAM – composer and sound designer.  With Ben Ringham – Olivier nominees Best Sound Design - Piaf and The Ladykillers.  Best Sound Design award 2014 Off-West End awards for Ring (BAC).  Re. song work in rehearsals for Queen Ann – Royal Shakespeare Company, 2015:
“Malcolm was a joy to work with, completely on top of the score and contributed a great deal to the process.”

MIKE DIXON - Musical Director and Supervisor.  Much theatre, TV and concert work (mikedixonmusic.com)
 “I have known Malcolm as a musical collaborator over a number of years, and most recently as one of my two Music Associates for the Fourth Islamic Solidarity Games in Baku.  He has a great tenacity for detail and is always someone to be relied on, with bags of energy and engaging wit with which to make music-making fun and glorious – as it should be!”

Directors

ADRIAN NOBLE – director.  Artistic Director, Royal Shakespeare Company 1990 – 2003.  For Bath Theatre Royal transfer of The Tempest from The Old Globe Theatre, San Diego, California:
"I cannot recommend Malcolm too highly.  He made a significant contribution to my production of The Tempest. He worked closely and sympathetically with the composer to create just the right sound and was rigorous and supportive to our cast who had mixed musical skills.  A very creative presence in the room."

DAVID FARR - director and writer for theatre, TV and film, including McMafia (2018), The Night Manager (2016) and Spooks for BBC.  Associate Director, Royal Shakespeare Company 2004 – 2012.  For RSC Julius Caesar and King Lear, and The U.N. Inspector – National Theatre:
“Malcolm was a committed and passionate musician and musical director for shows I directed for the National and RSC.  He was very flexible and fun to work with, happily embracing playing on stage, a touch of acting even, and led a very happy musical ensemble in both cases, never easy to do.  He's a lovely man and great to work with.”

BLANCHE MCINTYRE – director.  Awards include TMA Best Director 2013, Critics Circle Most Promising Newcomer 2011, Time Out Best Fringe Show 2011.  Double 1st - Corpus Christi College, Oxford.  For Southampton Nuffield production of Hattie Naylor’s & Paul Dodgson’s adaptation of The Nutcracker:
"I had a wonderful time working with Malcolm on The Nutcracker.  He was fabulously knowledgeable and skilled, endlessly patient, and the cast loved him.  With him, the show was in very safe and kind hands.”

Other Creative and Production Team Members

DAN MOSES SCHREIER – theatre sound designer and composer, New York.  Awards include 3 Tony’s for Best Sound Design (2008, 2010, 2014), and 5 Drama Desk Awards for Outstanding Sound Design and for Composition (2011, 2013, 2014, 2016).  For Bath Theatre Royal transfer of Adrian Noble’s The Tempest from The Old Globe Theatre, San Diego, California:
“For a sound designer, there is nothing like working with a great music director.  When I worked with Malcolm Newton on The Tempest at the Theater Royal Bath, his work was so top notch, he made my sound designs sound better.  He’s one of the music directors that see the whole picture when working on a project.  That makes him a great collaborator.”

KATE CROSS – Producer and Artistic Director, The Egg, Bath Theatre Royal.  Including Ben Hur (cast of 145!) and Rumpelstiltskin:
“When Malcolm decides to take on a job, he does so with feverish commitment and ownership.  He is a nurturer – whether he’s working with amateurs or teaching new and sophisticated music to actors, he does so with patience and skill.  He knows how to look after people and make them feel good, and he does this because he knows it will produce the best artistic results.  I cannot rate him highly enough."

ANN YEE – choreographer for Royal Shakespeare Company (where we worked together), Phyllida Lloyd, Jamie Lloyd, Royal Opera House:
“When you work with Mal you know that no stone will be left unturned, and that each and every person who has to sing or play or dance will be given the attention and the care necessary to bring
out the musical best in each of them."

GRAEME PICKERING – choreographer for Imagine Productions.  Christmases 2017, 2018, 2019:
“You are the most organised person I know, and I love it!"

POLLY JERROLD – casting director.  Many productions and venues including Manchester Royal Exchange, Birmingham Repertory, Northampton Royal & Derngate and Bath Theatre Royal.  For collaboration on Bath Theatre Royal production of Rumpelstiltskin:
“Working with Malcolm was an absolute pleasure.  His generosity and positivity in the audition room eases any tension and his focus is always on getting the best out of the actors we meet.  I wish Malcolm was in every one of my audition rooms!”

ANDREW ISHERWOOD – musician – saxes, clarinet and flute. Birmingham Conservatoire, National Youth Jazz Orchestra:
“I had the pleasure of working with Malcolm on the Royal Shakespeare Company's Death of a Salesman. It didn't take long for it to become clear why Malcolm's well earned reputation precedes him; he is a talented, warm and charismatic musical director with an innate ability to get the very best from his musicians. His sense of humour, enthusiasm and collaborative approach to leadership make him incredibly easy to work with. I look forward to working together again."