Kally Lloyd-Jones was born and raised in Scotland. She trained at the Theatre Arts Ballet School and Central School of Ballet in London and has an MA in English literature and Film Studies from Glasgow University. She has worked extensively as a choreographer, dancer, movement director, teacher and choreologist in Scotland as well as in London, Sweden and Canada. She has performed with Company Chordelia, David Hughes Dance Company, Spinal Chord Projects, Tartan Chameleon, Aye! Productions, Paragon Ensemble and Scottish Opera. Her opera choreography/movement direction includes A Midsummer Night’s Dream, Don Giovanni, The Love of Three Oranges, The Tales of Hoffmann, War and Peace (Royal Scottish Academy of Music and Drama), La Bohème, Die Fledermaus, Cinderella, A Night at the Chinese Opera, The Two Widows, The Secret Marriage, Five:15 (Scottish Opera). Choreography for The Sleeping Beauty (King’s Theatre, Glasgow), FlyGlobespan TV commercial, The Ballad (Aye! Productions) and commissions for Elevate Youth Dance Company and Telford College. Her movement direction credits include Green Whale, Wee Witches (Licketyspit Theatre Company) and The Last Witch (Edinburgh International Festival/Traverse/Lyceum). Company Chordelia, her own dance theatre company founded in 2002, is the recipient of Flexible Funding from the Scottish Arts Council and is touring its most recent shows, Les Amoureux and Cabaret Chordelia. Kally recently directed Katya Kabanova for Scottish Opera.
www.heraldscotland.com/…/kally-s-moving-in-a-new-direction-1.918549
“the fantastically dextrous Kally Lloyd-Jones plays a trio of dancers” - Metro
OPERA DIRECTING:
KATYA KABANOVA, SCOTTISH OPERA
“how refreshing to see this small scale travelling production offer a bit of light and shade in its slick preentation. An illuminating evening”
Kenneth Walton / The Scotsman ****
“…sensitively directed by Kally Lloyd-Jones. It will sear your senses”
Michael Tumelty / The Herald ****
“by focusing on dramatic essentials, the emotional punch of Katya’s suicide comes across with full force” Andrew Clark / Financial Times
FREELANCE CHOREOGRAPHY AND MOVEMENT DIRECTING:
TWO WIDOWS, SCOTTISH OPERA“superb choreography” |
DIE FLEDERMAUS, SCOTTISH OPERA
“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
Photo by Richard Campbell
LA BOHEME, SCOTTISH OPERA ON TOUR
“the chair choreography of sassy lassie Musetta, a show stopper on it own”
Keith Bruce / The Herald
Photo by Richard Campbell
SECRET MARRIAGE, SCOTTISH OPERA
“the movement direction is consistently slick”
Independent On Sunday
“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
A NIGHT AT THE CHINESE OPERA, SCOTTISH OPERA
Photo by Richard Campbell
THE LOVE OF THREE ORANGES, RSAMD/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
WAR AND PEACE, RSAMD/SCOTTISH OPERA
“Kally Lloyd-Jones scored another choreographic triumph”
Andrew Clark / Opera
GREEN WHALE, LICKETYSPIT THEATRE
“tremendous physicality”
- Mark Brown / Sunday Herald
Five 15 / SUBLIMATION, SCOTTISH OPERA
“Tied in a straitjacket to a stake, choreographer Kally Lloyd-Jones is Lotis, a symbolic tree into which the Woman is ultimately absorbed, leaving her Child with her Sister. Lloyd-Jones’ movement is expressive in its response to Nick Fells music and Zoë Strachan’s libretto, providing a commentary on the Woman’s words as well as reaching out to her.”
Catriona Graham / The Opera Critic
HEARTEARTHREATH, TELFORD COLLEGE 2008
“Heartearthreath, choreographed by Kally Lloyd-Jones of Company Cordelia, told most memorably of a man caught up in the memories of his past loves. As he lies asleep with the one person who has been able to really move him, his past loves haunt his dreams in a startling and sensual piece of dance.”
Thom Dibdin / The Scotsman