"... just when you think you’re in a world of quantum gravity, with curved space and all the rest of it, you are returned to the body. [...]Suddenly, it’s not a universe unravelling; it’s love, it’s everything we hold." Paul Ransom Dance Informa 17th March 2019 (regarding Concrete Impermanence)

"Choreographer Alison Currie is masterful, her vision is reflective and does not force itself."  Lowry, G 2018, The Melbourne Critique, 16th August 2018 (regarding Concrete Impermanence)

“Currie has hit upon a winning formula.” Burdon, P 2018, The Advertiser, 29th October 2018 (regarding Close Company)

“This dance work fuses movement, art, sculpture and distinct imagery into poetic beauty.” “… innovative and ingenious.” “Alison Currie’s Concrete Impermanence, is intriguing, innovative, edgy and abstract, exploring the fragility of existence and the strength of the human spirit.” Kuljis, C 2018, Dance Life Australia, 18th August 2018 (regarding Concrete Impermanence)

"... the central idea of change in both objects and people emerges clearly. And the dancing is terrific." Brissenden, A 2018, Adelaide Review, 18th May 2018 (regarding Concrete Impermanence)

"...an energetic and dynamic experience of contemporary theatre that pushes the boundaries of dance." Watts, P 2018, Broadway World Adelaide, 19th May 2018 (regarding Concrete Impermanence

“…it tickles the brains,” - Brissenden, A 2018, The Australian, 29th October 2018 (regarding Close Company)

“…an intriguing ‘experiment’ and exploration, where communication becomes the solution to connection and closing the distance created in crowds, or even simply between two people.” -Bakchormeeboy 19th October 2018 (regarding Close Company)

“It is a fascinating piece in concept and realisation.” Sykes, J 2011, Sydney Morning Herald, 25th November 2011 (regarding Solo)

"When performance art is good it hums and vibrates with energy. It reaches out to the audience and brings them in like 42a.." Kelty, R 2008, Artlink Volume 28 No 3 (regarding 42a)

"Creatures gave gentle satisfaction." Brissenden, A 2018, Adelaide Review, 16th July 2018 (regarding Creatures

“Another spatial innovation is the three-dimensional, sculpted screen of I Can Relate by… Alison Currie who has created an experience so unique that it causes some viewers to do a double take.” Forrest, N 2015 Blouin Art Info (regarding I Can Relate)

Three ways to hold creates and demands a certain type of attentiveness… Appearing sometimes coolly cerebral, at others, Three ways to hold reveals a gentle sense of the absurd.” Kemp, J 2010, Realtime 99 Oct/ Nov (regarding Three ways to hold)

Restless Dance has presented consistently impressive works by young people… Bedroom Dancing is perhaps the best to date.  …Choreographer Alison Currie, ever imaginative, has done wonders in developing each scene.”  Burdon, P 2009, The Advertiser 19th June (regarding Bedroom Dancing)

"Alison Currie blends, shoves and tears down walls to bring her audience an involving experiment in art and choreography." Cotton, P 2008, City Search Adelaide (regarding 42a)

“In July young Alison Currie’s 42a, an interactive installation piece based on a shared house, was the year’s most intriguing dance theatre work.” Brissenden, A 2007, Adealaide Review (regarding 42a)

“… Bedroom Dancing was a triumphant achievement.” Brissenden, A 2009, The Adelaide Review June (regarding Bedroom Dancing)