A Professor of Music at Ulster University, Brian Irvine, is one half of a duo that has created and composed the original music score for the hit BBC One mystery drama: The Woman In The Wall.
Alongside composer Dr David Holmes, an honorary graduate of Ulster University, Derry~Londonderry-based Professor Irvine composed the score and featured the haunting vocals of Italian singer Anna Caragnano.
The Woman in the Wall is a six-part BBC One mystery drama created by Joe Murtagh, and stars Ruth Wilson and Daryl McCormack. Made by Motive Pictures, the series has captivated audiences around the world, receiving widespread critical acclaim.
Shortlisted for the 2022 Ivor Novello Award, Professor Irvine’s work on Woman in the Wall the score reflects Ulster University’s important associations and connections with the wider TV and film industry, further strengthening the University’s reputation as a nurturing hub for Northern Irelands burgeoning creative screen industry professionals and film, TV, and games composers.
Holmes and Irvine have worked on many projects together with previous film scores including: The Laundromat directed by Steven Soderberg, starring Meryl Streep, Garry Oldman, Antonio Banderas, Sharon Stone and David Schwimmer; Ordinary Love starring Liam Neeson and Lesley Mandeville, written by Owen McCafferty and Marlowe directed by Neil Jordan, starring Jessica Lange, Diane Kruger, Alan Cumming and Liam Neeson
WATCH THE TRAILER HERE: WOMAN IN THE WALL
SYNOPSIS
The unique drama is centred around the dubious, harrowing and incredulous practices that were common throughout the numerous mothers and babies homes in Ireland in recent years.
Ruth Wilson plays Lorna Brady, who was sent to her local laundry/home for being pregnant at 15. The baby was taken from her by the nuns and, like the rest of the young mothers, she has never known what happened to her child. Wilson gives a mesmerising performance as an unspeakably damaged woman fibrillating with rage and self-loathing, driven to the edge of insanity by her experiences and the lifelong insomnia and somnambulance to which they have given rise. When she is left a note and a phone number from someone claiming to know what happened to her baby, contact with the writer proves elusive and her torment increases. After a thwarted meeting with the person who supposedly has the answers she needs, Lorna wakes to find herself back in her own bed with no memory of how she got home and a woman’s dead body downstairs.