PRESS FOR MOVEMENT DIRECTING & CHOREOGRAPHY 

'Choreographer Kally Lloyd-Jones’ ensemble numbers are sublime..' ★★★★  The Stage  (Grease, Pitlochry Festival Theatre/Blackpool Grand)

 

'wonderful choreography ' ★★★★ Musical Theatre Review (Grease, Pitlochry Festival Theatre/Blackpool Grand)

 

‘terrific collective spirit  expressed through the big-number songs and Kally Lloyd-Jones’s joyful choreography’  

★★★★ The Scotsman  (Grease, Pitlochry Festival Theatre/Blackpool Grand)

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'Kally Lloyd-Jones’ choreography’ ensures the pace is snappy throughout, never more so than in the Act 1 final, a truly joyous We Go Together'.  Beauty School Dropout id glorious fun'   ★★★★  Must See Theatre  (Grease, Pitlochry Festival Theatre/Blackpool Grand)

 

'brought to spinning life by Kally Lloyd-Jones’s witty choreography’  ★★★★  The Herald  (Grease, Pitlochry Festival Theatre/Blackpool Grand)

 

‘The chorus are a spectacular riot, Kally Lloyd-Jones’ choreography eye-catching’ ★★★★ The Scotsman  (Merry Widow, Scottish Opera/Opera Holland Park)

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Choreographer Kally Lloyd-Jones whose vibrant tapestry of impressive set pieces thrilled throughout alongside tiny characterful vignettes you had to be quick to catch’   ★★★★ Bachtrack  (Merry Widow, Scottish Opera/Opera Holland Park)

 

‘Kally Lloyd-Jones gives the bridesmaids some laugh out loud geriatric cheerleader choreography to complement their outrageous frocks’  

★★★★ The Guardian   (Trial by Jury, Scottish Opera/D'Oyly Carte)

 

‘the bridesmaids, brilliantly choreographed by Kally Lloyd-Jones’  ★★★★  Vox Carnyx   (Trial by Jury, Scottish Opera/D'Oyly Carte)

 

‘it was their choreographed chorus that had me in the most helpless stitches, perfectly coordinated yet hilariously ungainly’  Edinburgh Music Review  (Trial by Jury, Scottish Opera/D'Oyly Carte)’  

 

Explosive dance sequences that capture the fierce suppressed energy of Bomont's younger generation'  

★★★★ The Scotsman  (Footloose, Pitlochry Festival Theatre/New Wolsey Theatre)

 

"Great vocals, arrangement and choreography all but stop the show"

★★★★★ Musical Theatre Review (Footloose, Pitlochry Festival Theatre/New Wolsey Theatre)​

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'Kally Lloyd-Jones’ striking movement is skilfully realised by the entire company '  

★★★★★ The Stage  (A Midsummer Night's Dream / Scottish Opera / Dominic Hill)

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"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)

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"the deft choreography from Kally Lloyd Jones kept things very lively"  **** Bachtrack (Die Fledermaus / RCS)

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"The whole production was choreographed immensely well, if anything this emphasised the gripping drama of the music"

Seen and Heard International (Rigoletto/Scottish Opera )

 

"Kally Lloyd-Jones's choreography to Kielty's music makes you feel like you are at back in the early days of the Assembly Rooms"   British Theatre Guide ( The Belle’s Stratagem/ Lyceum)

 

"gorgeous dancing choreographed by Kally Lloyd-Jones"   Edinburgh Guide ( The Belle’s Stratagem/ Lyceum)

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"deft choreography from Kally Lloyd Jones kept things very lively"   Backtrack, (Die Fledermaus/RCS)

 

"Kally Lloyd Jones,  choreographer, has a real eye to what looks good on stage."   ★★★★ Bachtrack  ( Ariodante / Scottish Opera)

 

"In the celebration of their betrothal, a ballet duet between two blindfolded dancers symbolises that love is blind. It is well done, not an intrusion but a logical step of the plot, with dancers Lucy Ireland and Vince Virr interpreting Kally Lloyd-Jones easy on the eye choreography."

★★★★ AllEdinburghTheatre.com ( Ariodante / Scottish Opera)

 

"As well as looking fascinatingly anachronistic – and giving the ever-dependable Kally Lloyd-Jones some real dancers to work with – this Ariodante is also consistently well sung"  ★★★★The Herald ( Ariodante / Scottish Opera)

 

"Lloyd-Jones' movement was a key feature of this production, with many individual vignettes to enjoy."  **** Bachtrack  (Jenufa / Scottish Opera)

 

“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)

 

“eloquently choreographed by Kally Lloyd-Jones”

theartsdesk.com ( Il Trovatore / Scottish Opera)

 

“the addition of seven dancers added welcome fluidity and movement. 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/The Opera Project/RCS)

 

“Kally Lloyd Jones has choreographed both the dancers and the singing company in both shows in what is an admirable example of integration at work.”    ★★★★ The Herald  (The Opera Project / RCS)

 

“Kally Lloyd-Jones was entrusted with this revival and did an excellent job”

Andrew clark, Opera Magazine (Macbeth/Scottish Opera)

 

“Lloyd-Jones' movement was a key feature of this production, with many individual vignettes to enjoy.”    Bachtrack ★★★★ (Jenufa, Scottish Opera)

 

“fine dance sequences evoking the relentless meaninglessness of it all, superbly put together by movement director Kally Lloyd-Jones”

The Scotsman (Dr Faustus, Citizens Theatre)

 

“Kally Lloyd-Jones’ exuberant movement pulls it all together”    The List ★★★★ (Dr Faustus, Citizens Theatre)

 

“and this show is another triumph for choreographer Kally Lloyd-Jones, whose movement of the chorus is masterly”

The Herald ★★★★ (The Flying Dutchman, Scottish Opera)

 

"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”

Neil Jones / Opera Now   (Betrothal in a Monastery, Scottish Opera/Royal Conservatoire of Scotland)

 

“ ... without caricature or exaggeration, informed Kally Lloyd-Jones’s choreography in a goose-bump inducing  ‘dream-pantomime” 

Andrew Clark / Financial Times  (Hansel and Gretel, Scottish Opera)

 

“Kally Lloyd-Jones scored another choreographic triumph”   Andrew Clark / OperaExperience  (War and Peace, Scottish Opera/RSAMD)

 

“from choreographer Kally Lloyd-Jones, some of the best choreography I have seen on a small stage: upbeat, trendy, brilliantly co-ordinated, full-on dancing that should have you falling about with laughter”   Michael Tumelty / The Herald  (Die Fledermaus, Scottish Opera)

 

“the chair choreography of sassy lassie Musetta, a show stopper on its own”   Keith Bruce / The Herald  (La Boheme, Scottish Opera On Tour)

 

“the movement direction is consistently slick”  Independent On Sunday  (Secret Marriage, Scottish Opera)

 

“Kally Lloyd-Jones has the cast moving with the speed and skill so important to the delivery of this kind of comedy, with its touch of farce”

Sunday Herald   (Secret Marriage, Scottish Opera)

 

“Kally Lloyd-Jones’s movement direction, as ever, had its own integrity: .. it was a real touch of brilliance…”

Michael Tumelty / The Herald  (The Love for Three Oranges, Scottish Opera/RSAMD)