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The Theatre of David Greig
David Greig has been described as 'one of the most interesting and adventurous British dramatists of his generation' (Daily Telegraph) and 'one of the most intellectually stimulating dramatists around' (Guardian). Since he began writing for theatre in the early nineties, his work has been both copious and remarkably varied, defying neat generalisations or attempts to pigeon-hole his work. Besides his original plays, he has adapated classics, is co-founder of the Suspect Culture Theatre Group and is currently Dramaturge for the National Theatre of Scotland. This Critical Companion provides an analytical survey of his work, from his early plays such as Europe and The Architect through to more ...
The Strange Undoing of Prudencia Hart
One wintry morning academic Prudencia Hart sets off to a conference in the Scottish Borders. Stranded there by snow, she is swept off on a dream-like journey of self discovery, complete with magical moments, devilish encounters and wittily wild music. 'You shouldn't miss this for the world . . . Rambunctiously life-affirming and touchingly beautiful.' Herald 'More vibrantly alive than any piece of theatre I've seen in Scotland for years.' Scotsman Inspired by the Border ballads, The Strange Undoing of Prudencia Hart toured throughout Scotland in 2011 in a production by the National Theatre of Scotland.
The Theatre of David Greig
Combining an analysis of all of his work with interviews, criticial essays and material relating to the original productions, 'The Theatre of David Greig' provides a definitive account of the career to date of this important dramatist
The Events
'I have been thinking I might go berserk.' When Claire, a priest, survives an atrocity she sets out on a quest to answer the most difficult question of all: 'Why?' It's a journey that takes her to the edge of reason, science, politics and faith. David Greig's daring new play explores our destructive desire to fathom the unfathomable and asks how far forgiveness can stretch in the face of brutality. The Events was commissioned and first produced by Actors Touring Company in co-production with the Young Vic Theatre, Schauspielhaus Wein and Brageteatret. It premiered at the Traverse Theatre, Edinburgh, in August 2013.
Greig Plays:1
The first collection of plays of one of Scotland's best-known contemporary dramatists EUROPE is set in a railway station at an unnamed border town where old and new Europeans weave a tale of love, loss and longing. "Fierce, compassionate, mightily ambitious drama...there is the sharp, analytic intelligence, the crackling inventiveness of a real writer buzzing about this gripping play" Scotsman THE ARCHITECT charts the rise and fall of Leo Black, once an idealistic and idolised designer, whose magnificent visions are now crumbling, along with his family, in the light of grubby reality. "Provides convincing evidence of David Greig's confident transition from a dramatist of promise to one of stature" Independent. Lyrical, soulful and darkly funny, THE COSMONAUT'S LAST MESSAGE weaves together the stories of a fraught Scottish couple whose TV is on the blink, a Norwegian UN peace negotiator, a young prostitute, a French UFO researcher, a pregnant police woman and two forgotten Cosmonauts who sadly orbit the planet."The most important playwright to have emerged north of the border in years" Scotsman
The Monster in the Hall
Duck Macatarsney cares for her biker dad, Duke, whose MS is getting worse. Duke is a spliff-smoking (for medicinal reasons you understand), bike-riding, heavy-metal- and horror-movie-loving, pizza-eating widower who has brought up Duck since the death of her mum in a crash. The two of them are just about surviving when one morning the Duke wakes up blind and the Duck hears Social Services are coming to take her away.The Monster in the Hall follows Duck as she tries to protect her world from the terrifying prospect of change.David Greig's The Monster in the Hall premiered at the Citizens Theatre, Glasgow, in autumn 2010, and was staged at the Traverse Theatre, Edinburgh in 2011 as part of the Edinburgh Festival Fringe.
Touching the Void
In 1928 a journalist asked George Mallory why he wanted to climb Everest. Mallory said, 'Because it's there.' Joe Simpson's memoir Touching the Void, international bestseller and BAFTA-winning film, charts his struggle for survival on the perilous Siula Grande mountain in the Peruvian Andes aged twenty-five. Adapted for the stage by David Greig, Joe's story explodes into a bold theatrical fantasia. We discover the counter-cultural world of Alpine climbing and the sensual joy of the mountains; we bear witness to the appalling moment when Joe's climbing partner Simon Yates, battered by freezing winds and tethered to the injured Simpson, makes the critical decision to cut the rope. Tense, funny and inquisitive, Touching the Void explores the mind's extraordinarily rich reservoirs of strength and imagination when teetering on the edge of death. David Greig's Touching the Void premiered at Bristol Old Vic, Bristol in September 2018.
Yellow Moon
Yellow Moon is a modern Bonnie and Clyde tale that follows the fortunes of two teenagers on the run. Silent Leila is an introverted girl who has a passion for celebrity magazines. Stag Lee Macalinden is the deadest of dead-end kids in a dead-end town. They never meant to get mixed up in a murder... but now they need a place to hide.Yellow Moon explores what it means to live in a celebrity-obsessed world and what it is that defines who you are when you're 17 years old. The play premiered at the Circle Studio of Citizens' Theatre, Glasgow, in September 2006, and won the 2008 Brain Way Award for Best Play for Young People.
The American Pilot
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David Greig’s Holed Theatre
With a Foreword by Dan Rebellato, this book offers up a detailed exploration of Scottish playwright David Greig’s work with particular attention to globalization, ethics, and the spectator. It makes the argument that Greig’s theatre works by undoing, cracking, or breaking apart myriad elements to reveal the holed, porous nature of all things. Starting with a discussion of Greig’s engagement with shamanism and arguing for holed theatre as a response to globalization, for Greig’s works’ politics of aesthethics, and for the holed spectator as part of an affective ecology of transfers, this book discusses some of Greig’s most representative political theatre from Europe (1994) to The Events (2013), concluding with an exploration of Greig’s theatre’s world-forming quality.
