‘Jodi Gray’s script is jarring, conflicted and unapologetic – beautifully taking the overarching uncertainty of a HIV diagnosis and moulding it into flowing poetry and hard-hitting scenes.’ West End Wilma

‘Writer Jodi Gray ensures Affection also has its lighter touches with plenty of humour – not least in a monologue in which one character shares his disappointment at not achieving the dramatic and tragic end he had hoped for due to developments in treatment.’ Weekend Notes

‘...slick unapologetic dialogue...’ Gay Times

‘It’s a tiny moment of theatre that packs a massive emotional punch, thanks to Jodi Gray’s subtle script, Ben Buratta’s sensitive direction and two wholly involved performances.’ The Stage

Big Bad

'Big Bad is a masterclass in storytelling… Gray writes subtly animal inflections into the language, summoning an immediate, instinctual way of apprehending the world.' Exeunt Magazine

'A gruesome, bloody, beautiful depiction of the animal within us all' London Theatre 1 ★★★★

'This gripping one-hour story was beautifully told by Arabella Gibbins… I also have to mention the female crew behind Big Bad; with more and more feminist shows coming to London, it’s becoming increasingly difficult to stand out. But their story of defiance in the face of hardship, of finding your inner strength and of never giving up is inspirational.' Playhouse Pickings ★★★★

'Her story of abuse, sexual power and society’s fear of strong women echoes like the howl of a wolf… It’s a polished, complete play with a confrontational viscerality necessary in the world today.' The Play's the Thing

'Conceptually, the Big Bad is terrific, using the stalking horse of a werewolf story to provide a novel scope for themes of entrapment, power, and the experience of being a (were)woman. This is supported by excellent writing, peppered with eerily familiar references and double-meanings, to drive home a story that is both gripping and meaningful. The text is carefully crafted to feel whole, and complete. Nothing is forgotten – nothing is said without reason.' The Spy in the Stalls ★★★★★

'Big Bad is a powerful, disturbing and intriguing one-woman show that invites questions about sanity, morality and femininity, and leaves a horrible knot in the stomach.' A Younger Theatre

Broken Meats

'Jodi Gray’s Broken Meats envisioned the missing mothers of Lear as non-custodial parents, mothers who have been judged unfit. In searing deconstruction of the rituals of divorce and non-custodial visitations the mothers sat among dozens of fathers in a McDonald’s, sharing their insecurities and regrets about motherhood… painfully resonant.' Litro


‘Superficially, hookup is covered in camp, with a giant disco ball hanging over a glitzy catwalk stage, a prologue and epilogue from a drag queen, and a couple of stomping song and dance numbers, but the striking thing is the subtlety and warmth of the writing. There is nuance and revealing detail in every scene, and the actors do the writing justice, painting the subtle shades with just as much flair as they do the bold splashes.' Plays to See 


'A black comedy that is genuinely creepy is a rarity. But Jodi Gray's Peep manages to spook the living daylights out of you, because wild though its premise is, it actually seems possible… and not even in an alternative universe.' Emer O'Kelly, Irish Independent

'Gray’s play is a grim and surreal satire on gendered gaze and fractious alliances, because these are two women divided by a common cause… Peep invites you to join their watching, if you dare.' Peter Crawley, Irish Times

'Peep is a welcome addition to the stock of plays by young women writers, for women actors and focusing on women’s issues and perspectives… The dramatic situation is rich with possibilities which Gray exploits with considerable success… Gray’s writing is full of promise. Her characters are believable and she has a good ear for dialogue…' No More Workhorse


'Jodi Gray’s nine playlets brandish the strain of contemporary life. Technology consumes us and alters how we do everything, not least our relationships. The quick set changes and snippets of story are indicative of the expressway we live and harbours the sense of disjointment that we experience daily... Technology has shifted the patterns of our lives and Jodi’s play brilliantly characterises these changes, dramatically.' iReviewTheatre


‘Facing up to the ephemeral nature of the images we all carry in our minds can be a deeply unsettling experience, but it’s one that Jodi Gray leads us into delicately in Thrown, and we were grateful to spend some time in the pensive state that we found ourselves in after watching this thoughtful and subtly affecting play.’ Bechdel Theatre

‘Jodi Gray’s writing is brought to life through Jill Rutland and Frank, the binaural microphone shaped as a head. The two work together to create an image of the doctor Constance Ellis, and whilst they may continue to grapple with her identity, what the audience experience is clarity, and the raw human warmth of experience in this episodic masterpiece of storytelling… The effect was a trance-like state of euphoria…This hypnotic and intimate experience of storytelling was truly compelling and I left wanting to hear more. It was an experience like no other and a complete must-see production at the Fringe.’ EdFringeReview ★★★★★

‘…the dream-like and surreal quality of this evocative creation… This piece revels in its fragmented and disjointed nature… I loved this show. The hour-long piece felt like minutes and I was totally absorbed by the trance-making effects of the multilayered performance… This is a Must See Show, the company have taken great risks and they have paid off.’ Fringe Review

‘The narrative focuses on the experience of Dr Constance Ellis, yet we are only ever given fragments of the story: pieces of the puzzle to assemble ourselves… The language is humorous at times, but it’s mostly filled with intensity, fusing storytelling with the poetic. This show is inevitably a Fringe highlight and I highly recommend it.’ The Norwich Radical

'Put on your headphones and plunge into the hidden creases and distant corners of the brain – a place where fragmented memories and forgotten voices float quietly through the dark and into the bright white light. This is what Jodi Gray and Living Record Productions’ thoughtful, at times unsettling, and extremely distinctive piece of sci-fi theatre asks of its audience and, with the help of an open mind, it’s a highly immersive experience… Gray’s elusive dialogue merges with Chris Drohan’s evocative soundscape until it’s unclear what is happening when and where.' The Scotsman ★★★★

‘“You”s and “I”s become so blurred that Thrown feels nearer to sci-fi for a moment, as if the show is set in a fictitious future in which chronology is malleable… but isn’t that just how memory works?’ The Skinny ★★★

You Could Move

'...playwright Jodi Gray never tells us how to respond. Instead, her piece rapidly alters both subject matter and style to present a syndicated collage of modern gay experience. In a period of just 90 minutes, Gray’s script breezes through online chat rooms, supermarkets, sperm donation clinics and kitchens. In bedrooms, she introduces us to new lovers as they belatedly learn each other’s names, and then to more committed partners united in a battle against AIDs. Aided by the devised interpretations of Outbox LGB Theatre’s cast of ten, Gray weaves together narratives that are at once personal, and reflective of the greatest issues particular to gay and bisexual people in Britain today.' Exeunt Magazine