New York-based musician Matt Aument feels very lucky. An orchestrator and arranger for live theatre, he's gotten to create charts for some truly incredible performers– Kristin Chenoweth, Vanessa Hudgens, Victoria Clark; he's gotten to hear them performed in some legendary spaces– Carnegie Hall, Broadway's Neil Simon Theatre, and the Kennedy Center; and has been allowed to arrange for a wide variety of players and ensembles– symphony orchestra, chamber group, rock-band-with-a-harp.
Matt is particularly focused on new works. Out at the Oregon Shakespeare Festival, he worked with artistic director Bill Rauch and director Tracy Young to adapt Euripides, Shakespeare, and Rodgers & Hammerstein into Medea/Macbeth/Cinderella with thirty actors and a six-piece band. An ongoing collaboration with composer Sam Willmott has seen Matt orchestrating and vocal arranging his new work. In the fall of 2013, he music directed the ethereal Tamar of the River with Prospect Theater Company. Currently, he is creating new orchestrations for Rebekah M. Allen's murderous pop-rock cheerleading musical We Are the Tigers, going up in Los Angeles this fall, and orchestrations for Lisa Whitson Burns and Christopher Staskel's The Firebird for a concert with Musical Theatre Factory and the Chelsea Symphony.
Matt adapted and arranged the score for the 2015 Broadway revival of Lerner and Loewe's Gigi, where he also played in the orchestra. Recently he has created new orchestrations and arrangements for a revised production of Camelot that played at Drury Lane Theatre in Chicago and similarly revitalized orchestrations for Bells Are Ringingwith Berkshire Theatre Group this past summer.
“It's so reassuring to know the specialized traditions of Broadway are in such capable hands.”