George Fenton
was born in Bromley, Kent in 1949. He was one of five siblings. His father was a mechanical engineer, and his mother had been a dancer and dance teacher before becoming a nurse during the war. Both his parents were musical – his mother played the piano and his father the drums – but weren’t musicians. However, his great grandfather on his father’s side was a conductor, and as a child had been a chorister and had even sung at the funeral of the first Duke of Wellington. George sang in church choirs as a boy, but it was the electric guitar – a Rosetti Lucky 7 – that first won his heart at the age of 7.

At the age of 12, George began to study the church organ. This was a crucial part of his musical upbringing. Not because of the organ itself (although church music was to be a lasting influence on his writing), but because it was at this point that he was fortunate enough to encounter two exceptionally gifted musicians who would have a lasting influence on him. They were both former cathedral organists and worked at St Edward’s School in Oxford: David Pettit was the director of music, and Peter Whitehouse the assistant director. David Pettit went on to have an outstanding career as a performer and an academic. George credits Peter Whitehouse with being the most important person in his musical life, as a teacher and, ultimately, as a colleague. Peter continued to mentor and work with George until his death in 1992.

Having turned down the opportunity to go to university, George played in various bands and did a string of odd jobs until he auditioned for and was cast in Alan Bennett’s play, Forty Years On, in 1968. He also understudied the musical director of the show, Carl Davis. In order to appear onstage he had to join the actors union, Equity, and the rules prohibited two people having the same name. George was christened George Howe but because of this rule had to change it. That’s how he came to adopt his mother’s maiden name, Fenton.

While George was still in Forty Years On, he signed a record contract at MCA as a recording artist, and then one with his band at Decca. He worked as a session musician for some pop artists, including B. A. Robertson in the early days of his band. He also did some arranging for Carl Davis and others in theatre and television. He became increasingly interested in Middle and Far Eastern music thanks to meeting, studying, and working with the remarkable musician and ethnomusicologist John Leach.

In 1974, George was asked by the director Peter Gill to write the music for Twelfth Night for the RSC in Stratford. Since then he has written extensively for theatre, television, and film. Reflecting his new role, he was one of the original group that founded the Association of Professional Composers in 1976, which later amalgamated with two other organisations to become the British Academy of Composers & Songwriters. His theatre composition work spans all of Peter Gill’s productions at Riverside Studios to Alan Bennett’s Hymn and Cocktail Sticks at the National Theatre. He also wrote the musical Mrs Henderson Presents, which was produced in the West End in 2016. The BBC’s 2020 Talking Heads series for which George wrote the music, has also been produced at London’s Bridge Theatre and was followed closely, again at The Bridge, by the Beat The Devil theatre production, directed by Nicolas Hytner and starring Ralph Fiennes.

George Fenton lives in London. He is a BASCA Fellow which makes him just one of 18 songwriters and composers to have been bestowed this huge honour. He is also a member of the Academy of Motion Picture Arts and Sciences, and is a visiting professor at the Royal College of Music and the University of Nottingham. He continues to compose for film, television, and theatre. Last year saw the release of Cold Pursuit with Liam Neeson and Red Joan starring Judi Dench and Sophie Cookson and so far this year, we’ve had ‘The Secret: Dare To Dream’ and BBC’s new Talking Heads and subsequently produced at London’s The Bridge Theatre.