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Information according to § 5 TMG
Lillian Stillwell Ryser
Kirchhoffweg 38
48157 Münster
E-Mail: hello [ at ] lillianstillwell.com

Responsible for editorial content:
Lillian Stillwell Ryser
Kirchhoffweg 38
48157 Münster

EU Dispute Settlement:
The European Commission provides a platform for online dispute resolution (OS): https://ec.europa.eu/consumers/odr/.
You can find our e-mail address in the imprint above.
Consumer dispute resolution/universal arbitration body
We are not willing or obliged to participate in dispute resolution proceedings before a consumer arbitration board.

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All rights reserved. All text, images, charts, sound, animation, and videos, and their arrangement on the Lillian Stillwell website, are protected by copyright and other protective laws. The content of this website must not be copied, distributed, altered, or made available to third parties for commercial purposes. Some website pages also contain images copyrighted by third parties.

We may provide links to third-party Web sites. Lillian Stillwell has no responsibility for these third-party Web sites, which are governed by the Terms of Use and privacy policies, if any, of the applicable third-party content providers.

Our website lillianstillwell.com contains images of several photographers and photo agencies. We only use photos, images and media that are free of credits, respectively available under the Creative Commons CC-0 License.

Copyrights are with the producing theaters as well as videographers and photographers:

Jubal Battisti
Jennifer Caron
Kea Gröne
Tanja Hall
Sinje Hasheider
Christina Iberl
Valeria Lampadova
Michael Lyra
Olaf Malzahn
Lucie Schrag
Bettina Stoess
Bowie Verschuuren

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Stillwell immerses herself in the structure of the music with all its contrasts… The sold-out theater was filled with cheers.

Harald Suerland

SEXES is dedicated to women's sexuality, power and liberation. The sexes collide, egos begin to dissolve...the ensemble shows...an impressive physical performance.

Andrea Kutzendörfer

Stillwell shows how music becomes visible energy through the dancing body..., lots of cheers, also for an ensemble that faces challenges and masters them with commitment and energy.

Edda Breski

A mix of aggression and closeness.... showing how intimacy can turn into violence at any time. The result is full of fascinatingly poetic images... a brilliantly conceived and danced piece.

Ralf Döring

No one could have foreseen that the contribution by Münster's dance director Lillian Stillwell, "Oslo," would hit the mark so precisely... On stage, (the dancers) translate the hardened positions of negotiation with fantastic, brilliant movement sequences to throbbing sounds.

Andrea Kutzendörfer

Bettina Trouwborst

Furien [is] rightly tumultuously cheered at the end... With the turn from individual revenge to the administration of justice by a court, the movement loses its harsh tension, it becomes gentle and light. With arms spread wide, the dancers turn to the audience. It seems like an invitation.

Andrea Kutzendörfer

Lillian Stillwell has developed for the archaic greatness of the feelings, for the wild determination of the group, a movement spectrum of bursting power… it is admirable how Stillwell choreographs the group, how she lets this massive movement chorus structure the space.

Harald Suerland

Choreographer Lillian Stillwell has put an exclamation mark on her enthusiastically received opening, creating a striking contrast to [her] predecessors, who were as independent as they were successful.

Harald Suerland

Bettina Trouwborst

In time to the electronic music of the sound designer Randomhype, the eleven-member international ensemble shows how variable its movement language is. Swinging, soft arms, elongated, high legs, classical pirouettes can be seen.

Isabell Steinböck

Of European ranking… here in Copenhagen they sing with tendness and grace, effortlessly choreographed by Lillian Stillwell to fit the singers like a glove.

The music feels eternal in the company of Jetske Mijnssen’s impelling staging, which a reviewer in 2020 described as “hypnotically beautiful.” The performance deals with the healing processing of loss and grief, employing a simple stage set and dreamlike choreography.

Louise Pederson

Anna Bolena | 2022

Maria Stuarda | 2022

The exhausting final scene […] a beautiful white scene is revealed, a surreal ballet around the newlyweds playing in Anna's head. The choral scenes […] embellished with refined choreography, are a feast for the eyes in this production.

...the dancers, artfully choreographed by Lillian Stillwell, function sometimes as multiplied alter egos of Maria, sometimes as revenants of her adversary.

Jürgen Otten

Lillian Stillwell has developed choreography that could be described as classical ballet with modern elements, to wonderful effect. The four dancers could be described most accurately as God’s Ideas.

Martin Freitag

Lillian Stillwell choreographically brings the masses into a dramatic back-and-forth and uses the cool musical and rock quality of the street ensemble…The idea of assigning three dancing messengers of God to the priest is touching, (who) at the end they are also lying on the ground destroyed.

Claus-Ulrich Heinke

Praise is also due to choreographer Lillian Stillwell, whose dancers blend harmoniously into the often very turbulent action on stage.

J. Gahre

A completely new music theater experience has been created by Jochen Biganzoli, Milo Pablo Momm, Tom Ryser and Lillian Stillwell, each of them an alpha director. The differences between the individual signatures harmonize wonderfully.

Shy or high-spirited, intimate or euphoric - what love can offer in terms of emotions is explored here in an exciting mixture of party and contemporary dance… A successful performance, which despite all tragedy still comes up with a ray of hope at the end… The dead are dead, life goes on.

Helmut Jasny

Hans Butterhof

Isabell Steinböck

Melanie Suchy

When professional dancers like those at Theater Münster transform "The Four Seasons" by Antonio Vivaldi into movement, it puts the crown on what is probably Vivaldi's most famous work. The audience felt it: they were entralled.

Andrea Kutzendörfer

Maria Conlan