Alan Greig Dance Theatre : Press

Do You Nomi? (2013) Made in collaboration with Grant Smeaton.

“The cast of four moves with terrific intensity through a show that is part dance piece, part high camp caberet, part light touch documentary. A show of extraordinary troubling vividness, featuring a beautiful, thought-provoking central performance from Drew Taylor as Nomi **** The Scotsman.

“Affectionate, informative dance theatre piece… Drew Taylor’s Nomi really captures the aura of ‘otherness’ he felt and cultivated while Laurie Brown, Jack Webb and Darren Anderson conjure up that febrile context in pithy word and sinuous, sensual movement” **** The Herald.

GOD (Grumpy Old Dancers 2010/11) Made in collaboration with Andy Howitt.

” Both men can still turn out the moves and Greig’s repertoire of characters was as hilarious as ever” The Scotsman.

” Extremely charming and enlivening piece” ***** Scotsgay Fringe.

“The lovable eccentric pairing that is Greig and Howitt …an unexpectedly joyful little treat **** The Skinny

“Howitt’s sombre speeches are undercut by Greig’s playful wit to great comic effect… when the men dance together they create a fervent, hypnotising intensity which is captivating to watch **** Broadway Baby.

Query (2009) made in collaboration with Gerald Casel Dance (New York)

“Query has Greig’s typical mixture of complex, emotive dance and jarring bursts of audience participation ….Greig remains a vital presence on the Scottish scene”

“Refreshingly original, approachable as frivolous fun or symbolic exposition…query ticks all the boxes”
The Skinny.

Other Voices, Other Rooms (2008)

“An exciting, funny, moving and hugely theatrical experience… and we were never quite sure quite what would happen next. A show that’s more than the sum of its part.”
The Scotsman.

“An engaging concept with some thoroughly striking images… a site specific piece that has a yen to be spookily mysterious or camply grandiose”
The Herald.

Ragnarok/ Morceaux Choisis (Phillipe Decouffle) 2007

“X Factor Dance Company is one of Scotland’s best kept dance secrets, although this excellent double bill, performed by a very classy and close knit ensemble, threatens to bring them closer to popular acclaim and marks another slow step up the ladder of international reputation.”

“Decouffle knows how to please a crowd, which is exactly what his shadow play did here, with vast looming figures creating clever tricks of the light.”
The Scotsman.

The After Hours/ Smoke (Colin Poole) 2006

“Makes their point forcefully, but beautifully, with edgy body language, sharp moves and gallows humour.”
The Sunday Herald.

“Greig has dipped into the surreal subconscious with his own distinctive mix of spoof humour and attractive lyrical movement. Greig’s comic interventions are wickedly funny while a high octane duet is a beguiling instance of Greig’s choreographic finesse.”
The Herald.

Uncanny/Lareigne (Stephen Petronio) 2005

“(Lareigne) It’s fast, furious pace sends the dancers every which way… the piece has fire in its blood.”
The Scotsman.

“(Uncanny) punctuated with humour and a plethora of filmic references, Greig’s piece jumps butterfly like from one scene to the next.”
The List.

Echoes (2004)

“Funkily entertaining, unpretentious work.”
Dance Europe.

“Echoes is a colourful, fast paced patchwork of thoroughly watchable dance.”
The Herald.

“A reworking of the most entertaining, witty and thought –provoking shows of the past 14 years.”
The Sunday Herald.

In Your Dreams (2003)

“A force to be reckoned with.”
The Scotsman.

“A spunky cast delivers fragments of beguiling text and metaphor laden dance.
The Sunday Herald.

“Brilliant touches of choreography and surreal humour.”
Edinburgh Evening News.

The Dearly Departed (2002)

“A fascinating mix of scepticism, optimism and bafflement, peppered with factual details on the philosophies of some of the world’s major faiths.”
The Scotsman.

“Greig has always managed to come up with pieces of dance that are at once unique, disturbing, thought-provoking and, most important, entertaining.”
Edinburgh evening News.

Deception (2001)

“Deception has more layers than an onion and is just as likely to bring a tear to the eye.”
The Stage

“A torrent of fast furious movements.”
The Scotsman.

“X Factor is defiantly setting out its stall, reclaiming dance from the realm of the intellectual and bringing it back into the realm of the emotional.”
The List.

Unspoken (2000) Made in collaboration with David Hughes.

“The power of dance to weave new worlds has been harnessed beautifully by the X Factor’s new work.”
The Stage.

“Greig has been surprising and entertaining in equal measures for the last decade.”
The Metro.

“X factor’s strongest showing yet, a dance full of athletic, expressive grace.”
The Herald.

Threesome (1999)

“Greig’s quick risky marriage of ideas and movement could easily bear a second viewing.”
The Scotsman.

“Greig’s solo was witty (of course) but full of that lean sinuosity and sudden pounce that is becoming one of his hallmarks.”
The herald.

Lovebites (1998)

“Bittersweet, witty and appealing piece about sexual attraction and unrequited passion.”
The Herald.

“Quietly beautiful fluidity and provocative athleticism.”
The List.

Sexual (1997)

“Explicit language and explicit physical encounters intermingle in an emotionally charged exploration of gay male sexuality.”
The Guardian.

“A show which challenges and confronts the sensibilities of the Scottish dance community.”
The Stage.

Dead (1996)

“As much to do with breaking of boundaries as the casting of a spell upon its audience.”
The Stage.

“Alan Greig and his three fellow dancers are busy creating another dimension – one full of sexy close encounters, sparked with humour, and flashes of exuberant celebratory energy.”
The Herald.

Red (1995)

“They race from scene to scene propelled by sheer dynamism and a series of ever shifting moods: all the raw energy and power of male dance, and none of the macho posturing.”
The List.

“This is far and away the best work that Greig has so far created, with all four dancers working strongly to show off stylish and inventive choreographic permutations.”
Scotland on Sunday.

Suddenly (1993)

“Their most ambitious work to date.”
Scotland on Sunday

Standing Room Only (1992)

“Utterly captivating… a memorable Halloween masque of eerie beauty, wit and great inventiveness.”
The Herald.

“A riveting ghost train tour in full pagan flight.”
Scotland on Sunday.

Build-Up (1992)

“The three performers flickered like flames across the stage.”
The Guardian.

Night Gallery (1991)

“A beautifully performed, and at times intricate, web of movement.”
The Guardian.

Bizarro (1991)

“Grotesque tangents and fancies in a witty and shrewd bizarro.”
The Herald.

Re-Entry (1990)

“Wonderfully refreshing.”
The Guardian.