GRAND HOTEL SOUTHWARK PLAYHOUSE
'A MIRACLE OF PRESICION CHOREOGRAPHY BY LEE PROUD' - THE TELEGRAPH
'THE SHOW FLARES INTO LIFE DURING ITS BIG NUMBERS. THE OPENING OFFERS A STUNNING, PERFECTLY DRILLED INTRODUCTION....AS IN SO MANY RECENT MUSICALS, DANCE DOMINATES THE SHOW' - THE GUARDIAN
'THOM SOUTHERLAND AND CHOREOGRAPHER LEE PROUD BOTH PRODUCE FIRST RATE WORK' - EVENING STANDARD
'THIS PRODUCTION IS SO FLUID IN ITS TRANSITIONS AND SO SMARTLY CHOREOGRAPHED' WHATSONSTAGE
'WITH ITS PROPULSIVE, ALL ENVELOPING SENSE OF MOVEMENT BY CHOREOGRAPHER LEE PROUD KEEPING THE ACTION CONSTANTLY FLUID, FULL OF CHANGING SHAPES AND LIGHTNING-FAST SHIFTS OF MOOD IS IN EVERY WAY JUST AS MAGNIFICENT' (AS THE ORIGINAL BROADWAY PRODUCTION) - MARK SHENTON - THE STAGE
The Producers UK TOUR
'Wonderful Choreography - the show really belongs to the ensemble who skilfully utilise Lee Prouds sharp moves to spin from role to role...in panache and skill, particularly worthy of mention the tap numbers in Springtime For Hitler and Along Came Bialy.
***** The Public Reviews - Manchester Palace Theatre
Lee Proud's choreography is absolutely outstanding and throughout the show it gives a real pace, and tongue in cheek nod to the cabaret genre in all its gaiety. The highlight of the show is, for those who know the show is Springtime For Hitler. The brilliance of the choreography for this section of the show is matched by the superb sequined costumes and staging by Paul Farnsworth.
***** The Public Reviews - Bristol Hippodrome
The chorus too are dazzling. Rarely does an ensemble make such complex choreography and character work look so completely effortless.
**** West End Frame
There is strong choreography by Lee Proud. The Producers is one hell of a show..uproarous fun.
Crawley Observer - Brighton Theatre Royal
'Lee Prouds' Choreography is blistering.'
Breath - takingly funny. Where else can you witness men in drag as old women tap dancing with hospital drips? But Lee Prouds' choreography serves them well making every number a stand out one. An utter tour de force of comedy, dance and musicality, teaching how musical revivals should be done.
**** Jonathan Baz
Magnificence elsewhere from Lee Proud's choreography, with the big numbers of Along Came Bialy (complete with denture - wielding geriatrics) and Springtime For Hitler evidencing a company well drilled in dance routines that blend professional precision with immaculate comic timing.
CAROUSEL - ARCOLA THEATRE LONDON
***** FIVE STARS THE EVENING STANDARD - Fiona Mountford
"Lee Proud's choreography is consistently joyous and even pulls off the almost impossible task of making that hard-work second act ballet scene appear essential rather than inevitable" - "never has Carousel seemed so fresh and poignant and vital, but on a scale that is profoundly human"
***** FIVE STARS THE TELEGRAPH - Jane Shilling
"Everything about Frederick's production pulsates with intelligence and focus - the dangerous energy of Lee Proud's choreography, in which festivity constantly trembles on the edge of violent chaos"
***** FIVE STARS THE STAGE - Mark Shenton
Lee Proud also does wonders choreographically in such a small space to animate it with rousing production numbers and an evocative dream ballet.
NEW YORK TIMES - Ben Brantley
"I've seldom seen a more convincingly kinetic version" - "As directed by Luke Fredericks with choreography by Lee Proud, Carousel becomes a rhapsody"
**** FOUR STARS TIME OUT LONDON - Tom Wicker
"It's also an incredibly physical show, with choreographer Lee Proud propelling scenes along with raucous, sinewy and sensual routines that steam up the theatre"
Hairspray - Leicester Curve
***** The Observer
The Stage - "this lively revival of the massive 2002 Broaday hit is a real tonic, featuring a talented, exuberant cast and re-establishing the work as one of the great dance musicals. Lee Proud's choreographic vocabulary is easily as eloquent as Marc O'Donnell and Thomas Meehan's book, setting a frenetic pace that mirrors the urgency and need for social change."
British Theatre Guide - "the production simply doesn't have a weak link and it fizzes with energy - Lee Proud's choreography is inventive without being fussy - this one is right up there with the best"
The Guardian - "60's style numbers with zinging gusto. Lee Proud's choreography really motors proceeding: time and again the stage fills up with limbs all pumping like pistons"
***** The Observer - "Lee Proud's Choreography - zapping 60's steps with wild, leaping energy."
***** Whatsonstage - "Lee Proud's choreography is sublime"
***** The Public Reviews - " Lee Proud's slick and sometimes explosive choreography and the result is spectacular"
***** Musical Theatre Review " This is a stunning production - exuberantly danced (credit to choreographer Lee Proud) , full of joy - beautiful to look at"
The Revenge Of Sherlock Holmes - Hoxton Music Hall London
*****The Public Reviews
The original songs and music - by Leslie Bricusse, are just perfect and when combined with choreography of Lee Proud bring the Victorian Music Hall setting to true and vibrant life
There is one very good reason to see the Hoxton Hall revival of Leslie Bricusses 1988 show The Revenge Of Sherlock Holmes. Lee Proud's choreography is the finest I've seen this year outside the West End and is drilled with military precision
*****Front Row Dress
staged and choreographed by the ingeniuos Lee Proud
Lee Proud's precise, vivacious choreography
Boy Meets Boy - Jermyn Street Theatre 2012
Gene David Kirk and choreographer Lee Proud drape the evening's native wit and astute apercus into human nature with sparkling assurance - say it loud, say it proud, it's a hit.
The brilliantly choreographed opening ensemble number (Lee Proud once again proving worthy of his name'
Victor Victoria - Southwark Playhouse London 2012
**** The Telegraph
It is when the talking stops and the singing and dancing starts that the show really catches fire - Lee Proud's sparkling choreography.
****Time Out London
Huge credit too to Lee Proud, whose scorching choreography is the equal of anything you'll see on the West End.
Lee Proud's fabulous choreography raises the tempo and the temperature.
Mack And Mabel - Southwark Playhouse London 2012
**** The Independent
The electric drop-dead wit of Lee Prouds choreography...a laugh out loud joy!
**** Time Out
Lee Proud's choreography is Broadway worthy - at the performance I saw, the show's two intricate set pieces brought whoops from the stalls.
**** London Evening Standard
Delightful set piece choreography from Lee Proud, high octane routines featuring Sennetts trademark Bathing Beauties and Keystone cops. The dancing in Tap your Troubles Away is equally exquisite.
**** 1/2 (four and a half stars) THE PUBLIC REVIEWS
The show is complemented perfectly with the choreography of Lee Proud. His precise joyful work lifts the mood exactly when it's needed, and receives great applause after every number, especially after the showstoppingly slick "Hit Em On The Head" and brilliantly staged "Tap Your Troubles Away" which need to be seen to be believed just how good they are.
Guys and Dolls - Upstairs At The Gatehouse
Sunday Express Jan 2012
"... the show has so much swagger and style......... with Lee Proud's choreography providing effervescent delight in this resourceful staging"
Fringe Review Dec 2011 - Guys and Dolls
"The true star of this show is the choreography by Lee Proud. The dance numbers are innovative and use the space and minimal cast in a way which lights up the stage, in particular in the show stopping “Sit Down, You’re Rocking the Boat...
The Public Review Dec 2011 - Guys and Dolls
"But the main beneficiary of the staging is Lee Proud’s choreography which is outrageously daring (people in the front row are safe, but may flinch!) and breathtakingly executed with style and accuracy by the 12-strong ensemble...
Northern Odyssey - Live Theatre
British Theatre Guide 2010
"...a wild country dance choreographed by Lee Proud which drew spontaneous applause from the audience."