Press

Another great collaboration on a short film with Alannah. Really studies her character and the overall script well, understanding the nuances the scenes require whilst also willing to try different alternatives from the director. Great attitude to have in an actress.‘ (Simon Riordan, StarNow, Jun 8, 2019)

‘Alannah is a great actress and also pleasant to work with.’ (Matthew Lawrence, Macabre Pictures, May 30, 2019)

Worked with Alannah on a short student film; very professional attitude and has a great overall understanding of the film-making process. Great actress to have on set.‘ (Simon Riordan, StarNow, May 20, 2019)

Alannah is incredible to have on the set. Falls easily into her role. And to add she’s very talented! I definitely recommend her. Will be working with her on our future projects.’ (Tinaye Tenzi, StarNow, Sep 22, 2018)

I worked with Alannah on the short film ‘A Change of Voice’ where she played the character of Maisie. Alannah is very professional, talented, enthusiastic, and a real pleasure to work with. She is incredibly helpful and always making suggestions to both help understand the character, better and how to portray the action on screen. I would definitely work with Alannah again and recommend her to anyone looking for an actress.‘ (India Hudson, StarNow, May 1, 2018)

Alannah composed and performed the original score to our Bradford based short film ‘Littley Car’. A great combination of thoughtful interpretation and accomplished musicianship. An absolute pleasure to work with, highly recommended.’ (Chris Boylan, Boylan Media, May 21, 2017)

‘Alannah is a seasoned composer […] an impressive list of works accompany an equally impressive record of achievements by the aspiring academic.’ (Barry Jon Hinchcliffe, The Amanuensis, April 10, 2017)

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Alannah Marie. Photo by Craig Brannon and Jâle Özakinci, Venture Studios

Alannah has caused people to think – something she, and her music, do brilliantly.’ (Mike Atkinson, The Amanuensis, 2016)

Alannah Marie Halay’s new commission, Air, Earth, Fire, Water, [Air, Earth, Water, Fire] featured an array of extended instrumental techniques that conjured some extreme sounds from the orchestra, […] conductor Tom Hammond carefully guided the young players towards sections of almost Romantic melody.’ (Martin Scheuregger, York Press, 2015)

Alannah Halay in person is very quiet. This sweet introverted exterior is in significant contrast to her The Ridge is Beyond the Edge. Described as ‘a state of limbo induced by the act of ‘waiting to wait’ within a timeline that is not straightforwardly linear’, Halay works with clocks and voices announcing time and counting in a thunderous and nightmarish composition which took me to the feverish place of not sleeping. I loved this full frontal snapshot of psychosis.‘ (Paul J. Abbott, 2014)

The most forceful one for me was Dry Veins, which begins and ends with spoken words. The poem, by John Darley, is scattered across two pages, its typography well matched by Alannah Halay’s startling music. With Dan Holden at the piano, exploring its percussive aspects, soprano Rhiannon Beck excelled. The dramatic pauses and long-fading resonances were most effective.‘ (Richard Wilcocksbachtrack, 2012)