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Press

Press on Lizzi Gee:

Groundhog Day – Old Vic
“There are incredible feats of staging in which Karl seems to be in two places at once (the illusions, by Paul Kieve, draw rapturous applause) while the ensemble, brilliantly drilled by Lizzi Gee, has absolute clockwork precision”
“It’s feelgood entertainment, imaginatively staged and slickly choreographed by Lizzi Gee”
“The staging of Groundhog Day was superb, Choreography (Lizzi Gee) was stylish and exuberant and the ensemble cast kept up a tremendous energy.”
““Lizzi Gee’s choreography is slick but soulful”

Sound of Music – Chichester
“They are not only sung gloriously by every performer but twinned with impish and imaginative choreography by Lizzi Gee, especially in the more playful songs such as Do-Re-Mi, when Maria teaches the children to sing, and The Lonely Goatherd. The row of children are adorable, their movements so carefully choreographed throughout that it seems like operetta, dance and musical theatre bound into one”
“This is a good point at which to compliment the choreographer Lizzi Gee, a name always associated with the highest quality of work. You can also see the results of her creativity currently in Groundhog Day at The Old Vic. In this production, she presents one joyous routine after another inspired by and enhancing the music. The Captain and Maria share a thrilling first dance which tells you all you need to know about their feelings for one another. The complex movements of the seven children show both their capacity for fun and their unity as a family.”

Spitting Image – Phoenix Theatre
“Putin’s rendition of ‘Putting on the Blitz’ will stay with me for days. Shall we talk about the meticulous choreography from Lizzi Gee? It is glorious, making impressive use of a busy stage alongside sometimes moving objects. The energy is huge and propels the production along like it’s shot from Zelenskyy’s machine gun.”
“Lizzi Gee’s choreography gives great physical jokes with the hard working human legs on the puppet top halves”

New York Times (article on choreographers in Opera)
“Is it mere chance that so many of the most inventive opera choreographers are women? Lizzi Gee made the dancers for the English National Opera’s new production of Iolanthe. I was amazed to see the enthusiastic precision in which Ms Gee got these singers, as fairies, doing specific ballet steps: You could feel how all of them had a whale of a time. Her choreography closely, lovingly and hilariously refers to the fairy scenes of classically romantic ballets, including “Giselle” and (especially) Ashton’s “The Dream”

HMS Pinafore ENO
McCrystals secret weapon is his choreographer LIZZI GEE. She is a canny choice of collaborator, not least when film director Mike Leigh lumbered the ENO with a joyless Pirates of Penzance a few years back, unflattering comparisons were made with a lively all male production touring Britain at the same time, which Gee choreographed. As well as some joyous company dance work that includes a cheekily anachronistic tap routine at the start of act 2, she also gifted the show it’s most scene stealing comic hoofer in the shape of a nine year old Rufus Bateman, a pint sized limelight natural, who happens to be her son”
“The Act 2 Hornpipe is the expected show stopper. Lizzi Gee is a choreographic genius throughout, and not just in the set pieces”

“The Man in the White Suit
“Choreographer Lizzi Gee makes exceptional use of this Strictly Come Dancing winner’s abilities in a dizzyingly strange pas de deux that blends seduction and slapstick” (The Arts Desk)
“The Best Scene is a bedroom dance” (The Times)

Little Shop Of Horror’s – Regents Park
“With Impressive choreography by Lizzi Gee, The pace never lets up” (British Theatre Guide)
“Lizzi Gee’s peppy choreography” (Time Out)
“The Hard working ensemble are sharp and precise with Lizzi Gee’s excellent choreography” (Broadway world)