Reviews & Awards





“Tin Soldier” 2011 Winner BEST PRODUCTION for Young People

see link to recording of the ceremony, Lewis Gibson and Nick Haward receive the award on behalf of the company

Tin Soldier was Noel Greig’s last play, written before he died in 2010

He wrote it as his final gift to the Tangere team, following the success of “Hood in the Wood”, and ” ATastyTale-the true story of Hansel and Gretel”, both of which achieved media and audience acclaim. Noel is much missed by the company and his many, many friends, and we have been at loss to replace him.  In the short term we have reverted to working on classic epic poetry projects, currently Samuel Taylor Coleridge’s “Rime of the Ancient Mariner”, which will be presented under the title of “A Thousand Slimy Things” at Manchester’s excellent Royal Exchange Theatre in June 2012 (8th -23rd)


                “gripping” (Tasty Tale) The Independent 

“compelling”  (Hood in the Wood)   Time Out  

      “profound, compelling”                    “first-rate storytelling”                       “commanding”

I’m No Hereo                                      Hood in the Wood                                             Tasty Tale

    Broadway Baby                    The Guardian                     The Guardian




 Noel Greig’s pungent retelling of Little Red Riding Hood takes you deep into the woods and snares you in the thickets of the imagination. It gets the balance of nasty and nice, scary and safe, just right.  This is a show about fear and stereotyping, the path we all have to take to get through the woods and how sometimes we have to find the wild side of our nature in order to survive. Its final images owe something to the seductive hairiness of Angela Carter’s The Bloody Chamber – not bad for a show aimed at seven- to 11-year-olds.  Greig and the director, David Johnston, constantly subvert expectations in a show where the spit and poetry of the writing is cleverly given extra layers by Lewis Gibson’s live music and sound accompaniment.  Here, the tamed, urban world is at odds with nature, and it only gradually emerges why Little Hood’s mother is an uptight obsessive-compulsive, estranged from her wild, wandering mother who lives far away in the woods.  Played out on a bare stage with just four blood-red chairs, this simple piece of storytelling becomes emotionally, psychologically and theatrically sophisticated, largely due to Gibson’s sound-effects contributions. He offers everything from the deadening tick-tock of Little Hood’s home to the bubbling burps of the interior of the wolf’s stomach, where, Jonah-like, Little Hood and Granny find themselves.  Gary Lagden gives a tour-de-force performance, playing mother, child, granny and wolf with verve; he has the trick of reaching out to the audience to both scare and settle them.

This is a first-rate piece of storytelling that will make children squeal with terrified delight and parents shiver with recognition –

The Guardian, Lyn Gardner 2008

“Hood ” was voted “Critics Choice ” by Time Out Magazine in 2009

It featured at theTake Off Festival, Imaginate Festival, Edinburgh, Ciao Festival, Agor Drysau, Aberystwyth, Weekend Moscow, Zelenograd International, LIFT, Aberdeen International, Danish International festival




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