Sexuality, power and the end of heroism are the subjects of SEXES, choreographed to Beethoven’s third “Eroica” Symphony. Inspired by psychoanalyst Antoinette Fouque’s theories of female sexuality as a source of equity and self-determination as well as Beethoven’s disappointment at Napoleon‘s obsession with power, SEXES is an erotic, violent and ultimately joyful reflection of the plurality of sex.

Who are we, what are we capable of? Twelve dancers are driven by rage until a cosmic interaction provokes their transformation. Lillian’s critically acclaimed opening production at Theater Münster was performed to sold-out audiences in an arena setting, recalling ancient Greek theater, to an original sound design.

In a production praised for being “of European ranking,” critics called Lillian’s choreography “hypnotically beautiful.” The singers move in swarms, magnify small gestures and collect into breathing masses to echo and expand the deep emotions of the protagonists in synch with Monteverdi’s unforgettable harmonies.

In large, opulent moving pictures, Lillians choreography for dancers and opera chorus in the “Donizetti Trilogy,” bring form and scale to the emotional storytelling of the stage direction by long-time collaborator, director Jetske Mijnssen. After wildly successful premieres in Amsterdam, both productions travelled to Valencia, Spain and Naples, Italy.

The disciplines come together in Leonard Bernstein’s masterpiece for over 100 performers. Lillian Stillwell’s choreography – life-affirming, rhythmic, and grounded – is characterized by intense movements for the singers, dancers and the children’s choir. For the invisible power of the Holy Spirit, she created an ethereal, light and vulnerable movement language for their wild, uncontrollable and yet calming force.

ALIVE! was created by a team of four director/choreographers at the height of the Covid-19 Lockdown. Lillian contributed dance films and live choreography for singers as well as performing a duet with the camera herself. One single, live performance took place before the work was subsequently shown online.

This choreography to Vivaldi’s famous score combines rhythmic precision with physical intimacy in repetitive rituals in a movement language that combines the abstract with the emotional. Danger and joy, hope and sorrow are not only seen but felt in the percussive waves and canons of the choreography.

Two sleeping dancers wake up in a room full of sparkling lights and music. They go on a treasure hunt and discover sounds and unexpected, magical objects.
Audiences of all ages are mesmerized by the harmonic movement language, haptic light elements and sensual sounds from the orchestra musicians.