PRESS

“Kid-Oriented, Musically Excellent ‘Pete’ a Fun Ride”: 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.” – Betsie Freeman, World Herald, reviewing Pete the Cat: the Musical

“A 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.” – Rob Lester, Talkinbroadway.com, reviewing Tennessee Williams: Words and Music 

“Exit the King features actors alongside puppets specially created by renowned puppeteer Basil Twist with original music written by nationally recognized composer Allison Leyton-Brown… Unlike traditional renditions, this production features a heartbreakingly beautiful score…”  – Nancy Wang, The Duke Chronicle 

“In 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
three songs, thrillingly sung by the cast on stage, contributed greatly to the show’s powerful emotional tide… 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.” – Kate Dobbs Arial, Classical Voice North Carolina, reviewing The Woman in the Attic 

“Featuring 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.” – Laurel Graeber, New York Times 

“As composed and performed by Allison Leyton-Brown and Kaveh Nabatian, the music is used to great effect throughout the show… the stylish, grave tone is set at once.” – Gwen Orel, Theatre Scene, reviewing Hecuba 

“Allison Leyton-Brown and Stephen Tomac laced the torment with chilling original songs…” – Orla Swift, The News & Observer, reviewing The Trojan Women 

“Leyton-Brown’s original songs and orchestral music are at times haunting, lush, lyrical, rhythmic… The music really carries the soul of the piece.”  – Susan Broili, The Herald-Sun, reviewing The Woman in the Attic 

“Leyton-Brown’s physical stance at the keyboard comes closer to Joe Strummer than Dr. John, but she’s got skills that would make Mac Rebennack grin that trademark grin. Allison injected some old school stride into “Don’t Think Twice,” and her vocals on classics like “Big Chief” and “Mardi Gras in New Orleans” were right on point. But it’s the little differences she brings that make her Outer Borough’s not-so secret weapon, like the Fender Rhodes sound she brought to the funky original “BQEeze,” or the sizzling Clavinet vibe she conjured up toward the end of the second set that was straight out of Billy Preston’s “Outa Space.” Maybe the traditionalists might freak, but it’s a Brooklyn thing! They wouldn’t understand!” – J. Hunter, Albany Jazz

“Obviously your music has an emotional impact.” – Terrance McKnight, WNYC, on The Great Apes 

“I 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’t be. There are some mega talented composers, writers, and musical comedy stars coming your way.” – Wendy R. Williams, Welcome to the Vault 

“Pianist Allison Leyton-Brown, trumpeter Ivan Rosenberg and bass drummer Moses Patrou didn’t sing the words as much as they let them loose… It was a major release for all concerned, and we were howling for more when it was all done.” – J. Hunter, Albany Jazz 

“The hot rock anthem “Don’t You Go and Get Famous” — features Allison Leyton-Brown driving the beat at the piano and rattling the rafters…”  –David Finkle, BackStage, reviewing Together Again 

“Lancaster starts strumming and then singing a duet of “Close to You” with Leyton-Brown on the piano. The two are so enthusiastically committed that I’m 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…” – Maura Nguyen Donohue, The Dance Insider