COMPOSER, SINGER-SONGWRITER, MULTI-INSTRUMENTALIST
Described as “elegantly constructed” (NY Times), and “terrifically effective” (American Theater Web), Bajou’s composing has earned several accolades, including a Drama Desk Award nomination alongside one of her heroes, Philip Glass. Her credits include The 1619 Project (Hulu), Ken Burns’ Prohibition (PBS), feature films such as Roll Bus Roll (a Jeffrey Lewis doc), 7th Secret, Fireworkers, and Beneath Disheveled Stars, award-winning shorts like klutz. and Glimpses (Won: Best Original Score, Garden State Film Fest), and plays at Labyrinth Theater Co, Edinburgh Fringe, 59E59, and PS122. Member: American Federation of Musicians.
COMPOSER RÉSUMÉ
CLIPS
PRESS + PRAISE
“Sensational composition and an incisive score from Estelle Bajou elevate this gem of a festival short.” (Rough Cut Cinema on Klutz.)
“Estelle Bajou has that thing you want: soul. Estelle’s ability to reach inside the narrative and reveal its essential nature is nothing short of miraculous. It is a beautiful gift and we should all be forever grateful that her art lives in our world.” (Elizabeth M. Kelly, Writer/Producer)
"I have found with musicians there are those that shimmer and those that don't. It's inexplicable. Estelle Bajou is one of the lucky ones. From the sinister to the sublime - she's got you covered." (Kevin Baggott, Filmmaker)
New York Times Critics’ Pick “An elegantly constructed examination of contemporary isolation and the illusory nature of electronic connection... A live score (written and played by Estelle Bajou on mandolin) keeps any electronic coldness at bay.” (Laura Collins-Hughes, The New York Times on Please Excuse my Dear Aunt Sally)
“Underscoring the action there's a terrifically effective musical soundtrack that fuses an electric sound with what almost sounds like gentle folk (played by composer Estelle Bajou who sits to one side of the playing area).” (Andy Propst, American Theater Web on Please Excuse my Dear Aunt Sally)
“Next to the stage sits a musician, Estelle Bajou, playing mandolin, as she provides the original musical sequences that move the piece emotionally.” (Sandi Durell, Theater Pizzazz on Please Excuse my Dear Aunt Sally)
“A terrific original score by Estelle Bajou that transports the audience to Ireland as well as an Ireland of the mind.” (Izzy Cusack, Free Craic on Beneath Disheveled Stars)
New York Times Critics’ Pick, “A strange and lovely thing…With moving vehemence Soot and Spit...conjures Castle's world and work in a beautifully designed, dreamily evocative production. Our Voices Theater puts its money where its mouth is, casting-wise, nudging us to consider more deeply the notion of artists who don’t fit the standard mold." (Laura Collins-Hughes, The New York Times on Soot and Spit)
“Powerful… Nothing short of stunning. The experience is rich and singular… Every member of the stellar cast gives a full, vibrant performance.” (Adrienne Sowers, The Reviews Hub on Soot and Spit)
“A compassionate exploration of otherness… At once entertaining and heartbreaking.” (Ran Xia, Theatre is Easy on Soot and Spit)
"Estelle Bajou as the feral Eiliff is stunning and tear-jerking… The entire ensemble is primal." (Monica Charline Brown, Theater Pizzazz on Mother Courage)
“Descends into pitch darkness by carefully measured degrees… The designers have created an environment that credibly morphs from yuppie playpen into house of horrors.” (Ben Brantley, The New York Times on Stockholm)
“Fiery and fantastical...exhilarating.” (Eric Sundermann, The Village Voice on Skin Tight)
“Intense and alive… Sensual and passionate.” (Catherine Rampell, The New York Times on Skin Tight)
"Music composed by the multi-talented Estelle Bajou is ominous and haunting." (Lori Schneider, Aisle Seat on The Night Alive)