directing

"An in-missable, five-star tribute to one of Scotland’s greats by a production and performing team of the highest quality"    ***** Glasgow Theatre Blog  (Lauder)

"Kally Lloyd-Jones directs with the knowledge that the slightest intake of breath or turn of a hand can impart utter tragedy. "  The Herald (Opera Double Bill / RCS)

"elegant and eviscerating" * * * * * The Stage

 

"Kally Lloyd-Jones deserves to be far more widely known outside her native Scotland: her beautifully imagined works tunnel deep into familiar stories and characters, throwing up new gems of insight. "  

 The Guardian Unmissable Culture 2017   (Lady Macbeth: unsex me here / Company Chordelia)

 

"To peel back and examine each layer of Company Chordelia’s new work in a review this size is an impossibility. So rich in thought, detail and execution is it, you would need an entire thesis to do it justice"  

 **** The Scotsman (Lady Macbeth: unsex me here / Company Chordelia)

 

Nijinsky's Last Jump Number 5 in Judith Mackrell's top 10 Dance for 2015, The Guardian

 

"Lloyd-Jones does not sentimentalise her material, yet in this impeccably researched, beautifully performed piece, she conjures a world in which genius and insanity, youth and age speak to each and make perfect sense."

*****  The Guardian  (Nijinsky's Last Jump / Company Chordelia)

 

"By its close Nijinsky’s Last Jump shapes up into a memorably tender but unsentimental portrait of the love and loss of self."  **** The Times

 

but what really lit up the performance was its consistency, resourcefulness and wit.

Opera Magazine (L’elisir d’amore/Edinburgh Grand Opera)

 

The Seven Deadly Sins was sharp, sexy and bitterly sad.”   

***** The Independent on Sunday (Company Chordelia/Scottish Opera)

 

"Kally Lloyd-Jones's Scottish Opera/Company Chordelia co-production is sharp, witty and dark"

**** The Times (The Seven Deadly Sins/Company Chordelia/Scottish Opera)

 

a beautifully wrought landscape of public humiliations and private griefs” 

***** The Herald (Dance Derby/Company Chordelia)

 

Kally Lloyd-Jones’s compact period staging compensates by focusing on dramatic essentials, so that the emotional punch of Katya’s suicide comes across with full force.

Andrew Clark, Financial Times (Scottish Opera)

 

choreography

"movement sequences by Kally Lloyd-Jones that conjure up the rebellious fighting discipline of Cyrano’s Gascon cadets in unforgettable style" ***** The Scotsman (Cyrano de Bergerac / Citizens/NTS/Lyceum)

"gorgeous dancing choreographed by Kally Lloyd-Jones."

Edinburgh Guide (The Belle’s Stratagem/Lyceum)

Choreographer Kally Lloyd-Jones also produced some wonderful set-pieces, particularly in the final act in the wood, where suddenly a forest of arms with twisting hands and fingers would appear thrust into the air before disappearing into the swirling melee of midnight fairies. The final stylised dance in between the verses of the lively closing chorus with the whole company moving in unison provided a breathtakingly exuberant ending.”

**** Bachtrack (Sir John In Love / RCS)

"If you don't know Ibsen, but get Austen, you'll love it, although Zoe Strachan's libretto is more explicit and emotionally direct than anything either of them wrote. As a concise, lucid and poetic text it is exemplary and the narrative she, (Craig) Armstrong, and choreographer Kally Lloyd-Jones have put together with director Harry Fehr could hardly be bettered."

The Herald ***** (The Lady From the Sea, Scottish Opera)

 

The abiding memory of this production was the flamboyant, elaborate choreography of Kally Lloyd-Jones”  Opera Now (Betrothal in A Monastery/Royal Conservatoire of Scotland)

 

It is a delicate opera in the main and choreographer Kally Lloyd-Jones produced subtle movements for her performers with added twists of hornpipe for departing sailors, and some cleverly elegant set pieces.

**** Bachtrack (Dido & Aeneas/Royal Conservatoire of Scotland)