Curtis Moore is an award winning composer, songwriter and musician whose wide scope has allowed him to work on varied projects on and off Broadway in New York and across the globe, including Playwrights Horizons, The Old Vic Theatre, Brooklyn Academy of Music, The Public Theater, The Old Globe, TheatreWorks, Kansas City Rep, and Lincoln Center.
On Broadway, Curtis composed the music for Nora Ephon's play Lucky Guy starring Tom Hanks. In collaboration with Thomas Mizer, lyricist, he was awarded the 2016 Fred Ebb Award, and the 2009 Jonathan Larson Grant. Together they have written the musicals Triangle (World Premiere TheatreWorks Palo Alto, commissioned by Williamstown Theatre Festival, subsequently presented at the Eugene O’Neill Center, and the Lyric Theatre of Oklahoma), The Legend Of Stagecoach Mary (National Alliance for Musical Theater), and The Bus To Buenos Aires (Ensemble Studio Theater, NY). Together, they teamed up with Amanda Green (Bring It On) and Matthew Brookshire on the critically acclaimed musical, For The Love Of Tiffany. Curtis also composed the score for Barry Edelstein's production of Timon of Athens at the Public Theater, and Othello at the Old Globe in San Diego.
For film, Curtis and Matthew Brookshire wrote and performed songs for the Todd Solondz’ film Palindromes (Venice, Toronto, Telluride, New York film festivals.) Other film credits include composing the score for Clear Blue Tuesday, music for Industrial Light and Magic, MTV networks, the Miss America Pageant, and the CBS’ Rose Bowl Celebration. Most recently, Curtis composed the music for the short film Places I Can Never Go Back To.
As a producer and songwriter, Curtis continues to develop and collaborate with artists around the world, including Irish tenor Ronan Tynan, opera singer Shawna Stone, #1 Billboard dance artist, Kevin Aviance, Wafah Dafour, Ari Gold, Sara Ramirez, and two American Idol finalists - *Dilia and Karen Rodriguez.
He recently returned from conducting and performing the music in The Bridge Project’s acclaimed world tour of Richard III, directed by Sam Mendes and starring Kevin Spacey. This concluded three years of work with The Bridge Project (a joint production of BAM and The Old Vic) as Mark Bennett’s associate composer and music supervisor for The Cherry Orchard, The Winter’s Tale, As You Like It, The Tempest, and Richard III. As orchestrator, he has also worked with Mark Bennett on The Coast of Utopia, as associate composer and orchestrator with Mel Marvin on Cymbeline, and as music director for Moisés Kaufman’s production of Into The Woods. Curtis has provided arrangements for Sense and Sensibility, and orchestrations for Striking 12, The Bubbly Black Girl Sheds Her Chameleon Skin, Saved, and the London revival of Pippin.
His musical Venice, written with Matt Sax and Eric Rosen, premiered as a joint production between The Center Theater Group in Los Angeles and The Kansas City Rep, and was presented in a sold out-extended run at the Public Theater in New York in 2013.
Curtis was honored to supervise and compose music for the closing ceremony of the Shinnyo Lantern Floating for Peace at Lincoln Center two years in a row, coinciding with the International Day of Peace and the opening of the United Nations General Assembly.
Awards include “Best Composer Award” at the ASCAP/NYU Film Scoring Workshop, “Garland Award” for best score for a musical, and multiple grants from the Eugene O’Neill Music Theater Conference. He is a graduate of Northwestern University and a founding member of the Northwestern University Entertainment Alliance.
Curtis is currently based in New York, NY and enjoys volunteering his time and talent to The Actors Fund, Broadway Cares/Equity Fights AIDS, and the Ali Forney Center.
“the year’s best musical”–Time Magazine; review of Venice
“Be A Little Less Stupid… is one of the best new comic songs to come along in ages.”–The Wall Street Journal; review of For The Love Of Tiffany
“...astonishingly successful. The Moore-Mizer score is rich in melody and emotion…what really counts here is just how moving the stories are and how the songs heighten the emotion”–San Francisco Chronicle; review for Triangle