Greg Wohead is a writer, performer and live artist. His most recent collaborative work, Heading Against the Wall with Portuguese company Cão Solteiro and filmmaker André Godinho, is composed of a live performance in a Lisbon nightclub and a simultaneously broadcast online film. His durational work with GIFT Festival, Crack of Dawn, was performed online continuously from sunrise to sunset. Story #3 (Gaping Hole), his collaboration with Rachel Mars revolving around plot holes, was a commission by Ovalhouse in London to make a performance that involved destroying parts of the building. He worked with Gillie Kleiman to make Familiar, a performance in two parts about significant otherness through a canine lens, which premiered at Fierce Festival in Birmingham.

Greg draws on a range of references and interests including the instability of autobiography; the currency, images and emotional hitpoints of TV and film; the weirdness of reenactment and the wicked fun of fan fiction. Internationally touring works include Call It a Day (a live art Amish Groundhog Day); Celebration, Florida (a performance on longing enacted by two unrehearsed performers); Comeback Special (a sort-of reenactment of Elvis Presley’s ‘68 Special); Hurtling (a rooftop performance for one); Story #1 (a wicked exploration of narrative with Rachel Mars) and The Ted Bundy Project (a performance on morbid curiosity using a serial killer’s confession tapes).

Greg’s work has been commissioned, developed and seen at theatres and festivals across the UK, USA and Europe over the last decade. Look here for past performances.

Greg was a contributor to Metal’s In Other Words 2, Robert Daniels’ DIY Too and Forest Fringe’s Paper Stages 2020. Maddy Costa wrote a chapter on his work in Performance in an Age of Precarity. Features and interviews on his work have appeared in The Guardian, The Stage and Exeunt. Look here for writing on Greg’s work.

Greg teaches workshops and performance courses for young people, university students and artist peers, and he is currently pursing a practice-as-research PhD at Bristol University on weirdness in performance.