NoPro London's Thomas Jancis and Correspondent-At-Large Martin Gimenez are at this year's Edinburgh Festival Fringe checking out experiences from our FOMO Guide to the Fringe and beyond.
If it's immersive, immersive-adjacent, or if they suspect it might be, these immersonauts are on the case.
Events are in alphabetical order, and this will update as we go. Use the handy "On This Page" links to navigate.
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Arachne/Athena
Whisper Theatre Collective
From £15; Front Room at Assembly @ St Andrew Square
Run Concludes August 30th
Grey Eyed Athena. You know her, you love her. Goddess of Justice, Strategic Warfare and Olives. Patron to Athens and mentor to Odysseus and Perseus.
Now she has written a book. Granted it isn't a temple hosting her but a shipping container in Edinburgh, but she copes.
Athena (Britt Anderson), prim in a sensible suit rather than her armour, welcomes us but quickly douses herself with hand sanitiser. It is time for the book reading. Then she begins choking up spider webs. Arachne, mistress of weaving and the world's first spider, has cursed the Goddess to speak the truth.
When it comes to Greek myths, I always feel the worst thing is to have a God interested in you. Sadly for Arachne, plain spoken and wearing a baseball cap backwards, this is the case.
We, the audience, get to play sheep and Gods. There is even a musical competition with Apollo. When audience members pass letters from the mortal world to Olympus we see the friendship between the two women but Athena struggles when challenged on her Fair and Just court cases. Medusa, priestess of Athena, is turned into a monster ‘to protect her’? That really doesn't seem right. Athena is just defending powerful men, like her father Zeus.
Something must be done!
If there is anything we know from the myths of the Olympians, you must never commit Hubris. You are never better than the Gods. If you know the myth, you know Arachne weaves a tapestry of Athena and Zeus which is blasphemous. The Burlesque striptease of ‘The Sky Daddy’ is scandalous!
This show does an excellent job of showing the intense hypocrisy of Athena and Anderson reveals true vulnerability and loneliness with this Goddess. She needs a hug. But only gets webs.
— Thomas Jancis, London Correspondent
Concerts of the Future
House of Oz, The Sonicrats and the Melbourne Symphony Orchestra
£11.5; Summerhall Lobby at Summerhall
Run Concludes August 30
As five budding musicians, we are met by a scientist in the hallways of Summerhall. Orchestral music drifts towards us along the atmospheric corridors.
In response to a few simple questions, mine include how often I see an orchestra and what noises I make when alone, I become the world's first player of the Mummerette.
Scientists Ciarian and Erick introduce me to my instrument. The Mummerette is a hard plastic wand-like instrument that as I wave through the air lets out an almost muttering hum. The rest of this futuristic quintet play other new instruments such as the Borvok, Sajura, Yulane and Kylos. These names and sensor-filled objects are unique. The post show wall shows the names and players of these different creations.
“It is said it takes ten thousand hours of practice to be an expert.” Erik states “That was your ten thousand hours!”
So to another room to don VR goggles.
We are to play Beethoven's Seventh Symphony, alongside the Melbourne Symphony Orchestra. Does the footage of me viewed post Symphony mostly show me giggling as I wave the Mummerette through the air?
Of course it does.
This is a delightful half hour experience which offers something truly unique. The members of the audience leave, smiling and expressing what fun they had.
My apologies to the cellist in the footage, who appears to sit next to me in the VR experience. You smiled with the kindness of an experienced artist who has been placed next to the toddler who is going to ting the triangle in the big show.
— Thomas Jancis, London Correspondent
Extra Lives: The Interactive Video Game Concert
Extra Lives
£16.5; Other Yin at Gilded Balloon Patter House
Run Concludes August 31st
‘Extra Lives’ delights in being “the world's first Interactive Video Game Concert.” A live band of three (and a pre-recorded Bassist on screen) work their way through an adventure, with music from the video games of my youth.
The audience, using their phones, vote on two options as well as typing in pithy answers to questions.
The show has three possible versions. I experienced ‘Summer Vacation’ rather than ‘The Land of Eternal Spring’ or ‘Tavern of Destiny’. A full punch card of the trilogy of shows seen wins a prize. (There is also ‘Story Select Sunday’).
In ' Summer Vacation,' after waking up late for our holiday, we must swiftly pack our suitcase. Thus cueing in a rocking cover of the Tetris theme (otherwise known as ‘The Peddler’ or ‘Korobeiniki’. Buy me a drink, if that fact wins you a pub quiz.)
We are presented with two branching choices. Remove our hat or our jacket? Swim in the Sea or Study at the Museum? Each option has an audience member state their case and we vote on our phones/virtual controllers. We see gameplay to go along with the music and the narrator attempts to weave a narrative together. Your taxi driver who rushed you to the airport? Represented by Captain Falcon and F-Zero.
This was a high energy and fun show. I was bopping along and taking pleasure hearing live such tunes as Zelda's ‘Fairy Fountain’ song or the ‘Dire, Dire Docks’ theme from Mario 64.
With so many branching options and the three different shows this is a unique experience, with an audience that delights at the reveal of what piece of gaming music might be coming next.
— Thomas Jancis, London Correspondent
Jill's Tupperware Party
Asparagus Mousse
From £14; Belly Laugh at Underbelly, Cowgate
Run Concludes August 30
Standing outside the hall, where the 80th Tupperware convention will be held, after a busy year of selling those fine plastic boxes ringed with rubber, we are greeted warmly by Jill (Coral Bevan) and Jill (Ricky Hunt). But of course we are also Jill, as made obvious by our nametags. We are presented with a goody bag containing a candy to give us a little boost of energy. There is even an icebreaker. (Mine: what kind of ice cream would you be? I said raspberry ripple.)
Unfortunately the Tupperware company can't afford chairs so the crowd of Jills had to stand. But we know why we are here. The Jill who sold the most Tupperware must be celebrated! It is time to announce King Tup!
Co-created by Bevan and Hunt, along with David Alwyn, Jill's Tupperware Party is a wild and manic experience, enhanced by the great heat in the small theatre space.
Most of the Jills fall into our roles quickly, booing a Jill who cheated in the competition or forming a dance train around the space. Some poor souls, who clearly have no idea what they have got themselves into, stay at the back avoiding attention.
Our lead Jills handle interactivity and interjections with great skill. A highlight is taking the rolecall. Jill is here, as is Jill, but we must WAIT OUR TURN and not speak over each other.
This was a great piece of entertainment, especially in its early afternoon slot.
Is it a cult? Are there some greater, dark forces at work? All I know is that my leftovers will be nice and fresh when I pop them in the microwave for my hungry kids.
Thanks Tupperware.
Thankerware.
— Thomas Jancis, London Correspondent
Lizzy Sunshine
Liz Coin
£13.5; Coorie at Gilded Balloon Patter House
Run Concludes August 31st
Lizzy Sunshine is going to do a two hander with Jamie Rain about positivity.
Okay, their co-star is running late but this is the Fringe! Lizzy is determined to keep a positive attitude and can only do this with the help of the audience.
Liz Coin, the titular Sunshine, is wearing a top with ‘Lizzie’ in big letters and a sparkly yellow tophat. A manic musical theatre loving ball of affirmation and can do sayings!
There was a good amount of interaction and Coin does an excellent job of handling a very crowded space. Audience members are selected to read scripts or offer problems that can be solved. Lollipops offered for good jobs.
One costume change has Coin asking us to sing Rihanna's “We Found Love” to cover, which we do gladly.
This is an endearing hour with a deep vein of sadness. We can see Lizzie backstage, trying to remain positive and even slapping herself to keep her smile. Sometimes love and positivity can't change a person. “It's not his fault. It's not my fault. It's nobody's fault” Lizzie says quietly towards the end.
With so many shows on offer at the Fringe, this festival can be very tiring and make you feel quite lonely. It just feels good to sing a song as part of a group.
Sometimes we need a sense of community and love and this show provides both together with shiny moments of joy.
— Thomas Jancis, London Correspondent
Lt Love Dr's Boot Camp for Lonely People Like You
Chloe Matonis
£15.5; The Saloon Bar at Just The Tonic at Westside Rodeo
Run Concludes August 30th
On a wet August night, there is a flash and humanity's saviour arrives in Edinburgh.
Lt Love Dr Hotty McTotty has traveled from 2075. There people sleep in pods, eat food mostly made from plastic and absolutely never form human contact. This soldier's mission is to revive human connectivity. To get us off the apps, throw our phones in a lake and just form a connection with each other.
Love (Chloe Matonis) is a commanding force in their beret, fishnet gloves and a variety of shades of heartshaped glasses. Yet they are a sweet fish out of water who doesn't actually understand love and human connection. As a couple go on a date, Love stands too close and offers date suggestions.
We are put through our paces. Staring deep into each other's eyes. Winking. Dealing with rejection. And, with what has absolutely become a recurring theme in the work I have reviewed, we did a group dance.
By the end of the show I went on a date with Love. They asked what I did for work (I make theatre. I did not mention I was reviewing the date. That seems like third date stuff). What does Love do for work? Travel from the future to save humanity. I should have been paying attention.
I had a nice time. I hope Love did too but sadly they had to go back to the Dystopian Future. Not the first time I have heard that.
I was sad I couldn't hang around for a post show hangout with the audience and the Lt Love Doctor.
But I needed to flee down the cobbled streets in the rain to fresh adventures.
Truly akin to the most romantic scene in one of Love's illegal rom-coms on DVD.
— Thomas Jancis, London Correspondent
The Mothman Cometh
Whisper Theatre
£16.5; Just The Fancy Room at Just The Tonic at The Caves
Run Concludes August 30th
We take our seats before the lights go out. An announcement to stay in our homes. A creature lurks in the night, drinking blood! Through the darkness, down the aisle rushes a pair of glowing red rings. The flap of wings.
The Mothman Cometh.
The Mothman (Richie Schiraldi) has summoned us, his minions, for dark deeds! Well they don't have to be BAD just because we are in darkness.
Mothman likes picnics. He likes grapes. He likes to sing! He REALLY loves lamps.
Suddenly the back wall fills with a purple swirl of lights. We all scream. For one may scream into The Void. The Void will consume all! But maybe the Void isn't so wicked after all. Like how darkness isn't so scary.
I am a big fan of the supernatural being that turns out to be misunderstood. Mothman is a perfect example. Despite his act of being spooky and unknowable, he is just a sweetie.
Mothman and I swirl and kick to ‘Pink Pony Club’. We do a very gentle mosh pit. He asks what we are scared of. “Giant Squid” calls a voice. We all agree this is a sensible fear.
This was a very charming show about forming communities and finding ways to reach out to help yourself and others out of the darkness.
Immersive shows like this have a room supporting and caring for each other, making sure we do not fall off the stage in the gloom.
After fleeing Nazi Germany, Bertolt Brecht wrote a poem:
“In the dark times
Will there also be singing?
Yes, there will also be singing.
About the dark times.”
We sing in the dark and we hold hands.
If we are going to be in the Void, we are going to be there together.
— Thomas Jancis, London Correspondent
One Hundred Voices
National Theatre of Scotland
Pay What You Wish; Scottish Parliament Building
Run concludes August 28
In my view, one of the strengths of immersive work lies in its ability to make emotionally charged topics viscerally understandable through metaphor. Nowhere was this more evidenced than in National Theatre of Scotland’s stirring work One Hundred Voices. This meditation on the challenges that children go through when under state care (in America this would be DCFS and/or the foster care system) grips you from the start and confronts you with stats, structures, and sterile environments where people get trapped before a beautiful release.
Beginning in the lobby of the Scottish Parliament Building (for the Fringe, but evidently this piece is playing elsewhere around Scotland through the end of October), we are given a listening device with headphones and a vest with a new name on it. We then enter a very well apportioned series of sets that we are guided through, primarily by an adult’s voice (Scott Kyle) who represents the structure of the state, but also by a girl in the system (voiced by Genna Allen). The tour then takes us through spaces both literal and metaphorical, with a particularly strong structural surprise used to pile on to the frustrations that children in the system must feel. Dour and panic inducing as some sections are, when we finally escape the control of the state, we get some cathartic moments of beauty and joy, because despite their circumstances, the teens depicted here still have some joy in them, and that has to get out somehow.
Nicola McCartney and her entire team made a piece that confronts the failings of the state, and the irony that this show is installed in the public lobby of Scottish Parliament cannot be lost on anyone. As One Hundred Voices takes care to humanize people who many view as just statistics, I hope that work as powerful as this can be brought stateside, as close to the seats of government as possible.
– Martin Gimenez, Correspondent at Large
A Queer Little Murder
Savannah Hankinson
From £11.5; Coorie at Gilded Balloon Patter House
Run Concludes August 30
To quote the great novelist Snoopy “it was a dark and stormy night.” Suddenly it is not a shot that rings out but a scream!
A house on the queer haven of Rosebush Island, a party of the great and the queer is due to take place. The power goes out and our characters are trapped for the night, the party host found dead in the library.
But who dunnit? The Irish Nun, excited to meet lesbians? The timid assistant? The Ukrainian Supermodel? Our narrator's valley girl ex? Well, also our narrator who adores a murder mystery.
They all have motives.
Savannah Hankinson plays all the roles with a variety of accents, switching postures quickly to converse and argue with themselves. The set is simple, a stool and a bottle of champagne.
After being presented with our suspects, we as the audience shut our eyes and raise our hands to vote for the murderer. Thus ensuring five different endings and an actual tension as fingers are pointed over the cooling corpse.
This was a fun and queer hour and Hankinson handles the interactive aspects well.
A man throws a note (as requested) and when challenged with “you can't throw things at me, I'm gay” simply responds “I'm very sorry. I didn't know you were gay” which results in Hankinson taking a very long swig from the champagne bottle.
This is a good natured and fun solo show with some delightful gags. Just the right amount of interaction AND some suggestions of new murder dramas to go and catch up on when the Fringe is over.
— Thomas Jancis, London Correspondent
Sauna Theatre @ Summerhall
Mystery of the Picts - Sauna Sessions Arts Club
Bubble Schmeisis (Remixed) - Nick Cassenbaum
Aufguss x Nils Frahm - Sauna Sessions Arts Club
£26.25; Sauna Theatre at Summerhall
Runs Conclude Aug. 31
For performer and audience members alike, the Edinburgh Fringe Festival manifests as a grueling physical gauntlet of work, seeing shows, drinking and cuisine that is questionable for one’s cardiovascular health (deep fried mars bar anyone?), with scant options for wellness around… Until now!
A team of British artists in collaboration with Summerhall have created a theatre that works as a wellness regimen for the body as well as the spirit with their Sauna Theatre. Taking over the back courtyard of the Summerhall complex, a full changing area and sauna for as many as 86 patrons invites all who venture to that corner with a fascinating program of events of nine shows a day.
Personally, I experienced three of those shows, Mystery of the Picts, Bubble Schmeisis, and Aufguss x Nils Frahm, so I could get a sense of the variety of their programming. The first show I sweated through was Aufguss x Nils Frahm, wherein two Aufguss (a German term meaning infusion) Sauna Masters would infuse the steam inside the sauna, heated to 70 degrees celsius (that’s 160 Fahrenheit) with essential oils and fan that air all around us with towels and fans in a choreographed style resembling street sign twirlers. I don’t intend to be that reductive, as the experience mesmerizes and attacks all your senses in ten minute bursts, with cold plunges interspersed between Nils Frahm’s hypnotic songs. It was truly a first for me.
The next day, I saw the mildest of the shows, Bubble Schmeisis (Remixed), the only show where the central sauna ovens are not on, but it’s still quite warm in there. Bubble Schmeisis recounted author Nick Cassenbaum’s experiences being young and Jewish in London, and how going for a schvitz with his grandfather brought him closer to his community and family. Cassenbaum has been performing this play for almost a decade, this being the first time he has done it in a sauna. The fact that all of the patrons are in their swimwear, also sweating with him helps bring some of the characters and situations to life, and when someone is volunteered to reenact his first schvitzing (a scrubbing which I got to perform), that soap and brush filled moment brings the audience deeper into the action.
The final sauna show I saw was the excellent Mystery of the Picts. Lying in the narrative midpoint between Bubble Schmeisis and Augfuss x Nils Frahm, two actors recount the little known history of the Picts, who were early tribes native to scotland in the first millennium AD, with two sauna masters performing Aufguss rituals to manifest the lore the actors are giving us. In addition to these excellent theatrical experiences, I’m fairly confident that seeing shows in the Sauna helped me to stave off infections from a poor Scottish diet and exhaustion, and my only regret of this festival was not seeing more in there. But if the reaction to this year’s sauna theatre program is as positive as I think it was, there might be a new form of theatre for us immersive heads to check out, and I can’t wait to see how our community can embrace the idiom of heat.
– Martin Gimenez, Correspondent at Large
The Speakeasy Experience
Pickering's Gin
£21.50; Summerhall Lobby
Run Concludes Aug. 31
If you’re in the Summerhall lobby and a man in a lab coat quietly asks you if you’re “There for the meeting?” follow him! After skulking around the hallways of the Summerhall, he’ll lead you to one of the old veterinary anatomy rooms where slides and bones lay about. He then invites you into an even smaller room, relaxes, and conveys some eerie history while he starts to pour some drinks… Welcome to The Speakeasy Experience: Anatomy Edition sponsored by Summerhall’s in-house distillery.
Framed by some of the sordid history of Edinburgh’s early medical past, this delightful forty five minutes of stories and drinks in a cramped hall provides an excellent respite to add within the otherwise overwhelming festival month. Surrounding two aptly themed cocktails are a series of stories of historical figures that provide context to both the drinks and the location. Hearing a ghost story about Mary Shelly while having a drink called a “Corpse Reviver #2” creates a mild charge in the dimly lit confined space. But the use of scientific glassware as vessels for our drinks, and medical slides as our coasters elevates this experience from just hearing some ghost stories while drinking. Both the location, and the care brought to the space by the design team makes this alcoholic journey worthwhile beyond just the booze.
During the Edinburgh Fringe, there are so many opportunities to see shows where a pint, or a dram, or a cocktail are included as part of the admission. When the experience does not rest solely on the alcohol presented, those shows quickly rise above the rest. Conversely, there are many mixology bars littered throughout Edinburgh where one can have a fantastic cocktail. When someone walks the fine line and presents both a wonderful cocktail in an engaging experience, the magic of Edinburgh takes control. If you want a reasonably priced magical experience, head to Summerhall and find the meeting!
– Martin Gimenez, Correspondent at Large
Ten Ways to Die Happy
Sisifo Production, ERT – Emilia Romagna Teatro and Emanuele Aldrovandi
£16.50-£17.50; Cowbarn at Underbelly, Bristo Square
Run Concludes August 31
If you’re of a certain generation of American, you probably remember the board game “The Game of Life”, where you moved a car playing piece around a series of life events acquiring wealth and kids to fulfill the American Dream of a nice house in the country with a white picket fence.
In Ten Ways to Die Happy, Italian artists reframe the game of life into an expiration of energy (in the form of flowers), and acquisition of happiness (manifested as placards that participants can raise or lower depending on life events) for eight (eventually nine) randomly selected audience members. With a computer screen providing prompts, and a performer functioning effectively as a dungeon master, the eight randomly selected participants are given various starting attributes in life that effect their gameplay working through “years” of life. The goal of the game… to run out of life force (the flowers) with full happiness (all placards up), an elusive goal that only one player in my game achieved.
While the selected players are in the game, the rest of the audience functions as the rest of humanity, judging the players through some tasks, or in my case, using a mid-game gambit to take over the life of one of the players. So even if you’re not initially picked, there are still many opportunities for involvement. The various scenarios presented raise questions about morality, love, community and life. On a whole this piece plays like a lower stakes mode of Dungeons and Dragons with theatre games taking the place of dice rolls removing flowers or placards at random and dramatically.
Ten Ways to Die Happy’s blend of high tech with a commanding solo performer charms us into having fun, even if you aren’t one of the main players, even as the metaphorical life races past, you just want to take time and admire the flowers before you toss them away.
– Martin Gimenez, Correspondent at Large
Transmission: Into The Dark
one step at a time like this, Richard Jordan, Traverse
£27.50;Meeting Point at Traverse – Elsewhere
Run Concluded August 23rd
When traveling, I love exploring cities at night. Places have a different character under the night sky and whatever form of public lighting (or not) that exists. What looks benign during the day can have a sense of foreboding at night, or draw you closer to a cozy spot to lay back and appreciate the romance of a skyline of distant lit windows. Australian company one step at a time like this’s new work Transmission: Into the Dark invites us to explore a city (in this case, Edinburgh) under the cover of night to safely experience the nocturnal world.
Upon arriving to an urban address at your start time, you (this piece can accommodate one or at most two patrons per launch) receive a text giving you an initial instruction, and with that your off on a simultaneously open ended yet curated journey through a residential neighborhood a little bit away from the city center. Over the next hour or so, you have the freedom to explore the neighborhood as you see fit, guided initially by a transmission of the night radio, and eventually by a clever use of video guidance that the one step team first introduced with their piece Since I Suppose that is best discovered by experiencing. This piece has no traditional narrative, but has a more poetic quality of the text as it drives you to its reflective conclusion which feels like an excellent companion to their earlier work en route (which has played Edinburgh twice, and was in Chicago in 2011). That being said, the care put into the audience guidance exists on multiple layers, even if most audience members will only actually encounter a performer briefly for thirty seconds near the end of the work.
…one step at a time like this have mastered the art of making site specific (a colleague would use the term site sympathetic) work that is also immersive, and their structure can be adapted into almost any city on earth. With Transmission: Into The Dark, they add to their legacy of reflective meditations on urbanism, and I can only hope to see how their work would make me see Southern California in a new light.
– Martin Gimenez, Correspondent at Large
The Van Gogh Shogh
Donna Oblongata
From £13.5; Front Room at Assembly @ St Andrew Square
Run Concludes August 30
We pay to partake in the ‘Vincent van Gogh Experience’, entering a room full of calming music and AI enhanced footage of his paintings.
The man of the hour (Donna Oblongata) stumbles in with greying skin, neon orange beard and filthy bandage over his ear.
He is here with an Uber Eats delivery.
Everyone has paid to see his famous art. Why is he still broke?
Oblongata in their press release stated ‘When I first saw an ad for the $50 ‘Van Gogh Immersive Experience’ I thought, “what would Vincent think of that?” First off, he’d probably be delivering for Uber Eats and unable to even afford a ticket. Anyone trying to make a living as an artist, especially if they are paying to bring work to the Fringe, will be familiar with struggles of poverty, acceptance and recognition and maybe it’s time to rethink our relationship with art and how much we’re willing to pay for what we say we value.’
Vincent helps train four budding artists. They sit on stage working at their canvases. He looms behind them, sipping his stolen Uber Eats beer, wide eyed and teeth bared. “What is the worst thing that has ever happened to you?” he hisses. He asks purely so the grief can appear on the canvas. If yellow was a pet, what would it be?
There are plenty of moments of interaction and Vincent does not suffer fools gladly. We help him write a letter, statement by statement, to art dealing brother Theo. (“Send me paint. Or else. LOVE YOU. Vincent.”)
Ultimately I found this a charming hour, Oblongata conveying the tragedy of ‘the mad genius’ while also shining a light on what a force of chaos Van Gogh probably was.
— Thomas Jancis, London Correspondent
Well-Balanced Dads
Whisper Theatre
£16.5; Alba Theatre at Braw Venues @ Hill Street
Run Concludes August 30th
Dads Dick (Richie Schiraldi) and Dale (Britt Anderson), with their beautifully full moustaches, are feeling a little glum. The kids are off at university and these dads don't know what to do with themselves. So the two neighbours and best friends get their van and drive into the woods to go camping.
Along the way they pick up hitchhikers and work on Dad dancing with other Dads. I put a stick on moustache over my already existing one.
The participation is kind, wanting to support and offer high fives.
The physical prowess of the artists is impressive. One dream sequence has the Dads climbing on each other's shoulders and flipping about, lifting each other nearly into the lighting rig.
A highlight was when the Dads call their children and it is revealed the children are Britt and Richie, training at university in circus and clowning.
Britt explains they are making a feminist clowning show and Dick just goes slightly glassy eyed. Maybe he and Dale can come and watch? “I don't think it's really for you and Dale.” My heart breaks for these two Dads who really love their kids and have to learn to both let go and reach out.
By the end, those who wish to can join a big Dad Dance as a group. I defy you to leave feeling glum after this experience.
This is another show about forming a sense of community and a form of positive masculinity and role models. The Dads just want to be able to measure things, offer firm handshakes and braid hair (it is fine, Dick learnt on horses.)
Also a Dad might do a flip at any time.
You must be prepared.
— Thomas Jancis, London Correspondent
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