We have six pairs of Fringe Days Out vouchers (worth £30) up for grabs for NEA Ordinary Members.
These can be used to book tickets to any shows that are part of the Edinburgh Festival Fringe 2026. All NEA Ordinary Members will be entered into a draw, with six lucky winners picked at random.
Not a Member yet? Sign up by end of the day Monday 20 July and have your name added to the prize draw to be in with a chance of winning:
Acclaimed National Theatre of Scotland show Through the Shortbread Tin returns for 2026, opening at the Edinburgh Festival Fringe in August, before touring to historic settings across Scotland in September 2026
The production will be presented in historical locations: Glasgow Cathedral, Stirling Castle and Urquhart Castle (Visitor Centre) in partnership with Historic Environment Scotland from Thursday 3 September to Saturday 19 September 2026.
Written and performed by Martin O’Connor, the show is a poetic and playful show, performed in Scots with Gaelic songs, which explores Scottish culture, myths, history and identity.
In this remounted production, directed by Joanna Bowman, O’Connor is joined on stage by Gaelic singers Josie Duncan, Iona Mairead and Mairi McGillivray.
The show originally toured in 2025, garnering critical acclaim and award nominations.
Through the Shortbread Tin opens at the Edinburgh Festival Fringe at the Scottish Storytelling Centre on Friday 7 August, presented as part of the Made in Scotland showcase, running until the 31 August at 4:45pm.
Full dates below.
Through the Shortbread Tin – Photo credit Eoin Carey
National Theatre of Scotland in partnership with Historic Environment Scotland presents
Through the Shortbread Tin
Written and performed by Martin O’Connor
Remount directed by Joanna Bowman Original production directed by Lu Kemp
With Josie Duncan, Iona Mairead and Mairi McGillivray
Musical Director and Composer – Oliver Searle, Sound and Video Designer – Rob Willoughby, Set and Costume designed by Emma Bailey and Rachel O’Neill, Lighting Designer – Michaella Fee, Gaelic Consultant – Alasdair Whyte
At the Edinburgh Festival Fringe 2026 at the Scottish Storytelling Centre from 7 to 31 August at 4:45pm, with a preview performance on 6 August 2026.
Touring to Glasgow Cathedral, Stirling Castle and Urquhart Castle (Visitor Centre) in partnership with Historic Environment Scotland from Thursday 3 September to Saturday 19 September 2026.
Opening press performance at the Scottish Storytelling Centre on Friday 7 August 2026 at 4:45pm.
Part of the Made in Scotland Showcase.
The story of the greatest literary hoax of all time.
Returning to venues across Scotland following a critically acclaimed and award-nominated Scotland-wide tour in 2025, Martin O’Connor’s Through the Shortbread Tin is a poetic, poignant and playful show, performed in Scots with Gaelic songs, which explores Scottish culture, myths, history and identity.
“Fierce, Funny and Challenging” The Scotsman ★★★★
“an entertaining and intelligent investigation into the illusions and inconsistencies of Scottish history, culture and identity.” The Stage ★★★★
Through the Shortbread Tin will open in Edinburgh at the Scottish Storytelling Centre as part of the Made in Scotland Programme at the Edinburgh Festival Fringe on Friday 7 August 2026.
The show will then undergo a special tour to historic settings in partnership with Historic Environment Scotland. Touring to Glasgow Cathedral, Stirling Castle and Urquhart Castle (Visitor Centre) in September 2026, these performances will connect Martin O’Connor’s unique dive into Scotland’s history with the resonant surrounds of some of Scotland’s landmark sited locations.
Twenty years since the internationally acclaimed production of Black Watch premiered at the Edinburgh Festival Fringe, Through the Shortbread Tin marks National Theatre of Scotland’s 42nd production at the Edinburgh festivals, including last year’s Edinburgh International Festival sell out success, Make It Happen.
Through the Shortbread Tin is directed for this year’s Edinburgh Festival Fringe and tour by Joanna Bowman, whose previous productions include the award-winning Tron Theatre Company production of Escaped Alone, Doubt: A Parable (Dundee Rep) and most recently, Sweat (Citizens Theatre and Royal Lyceum Theatre Edinburgh). Joanna won the 2024 CATS Award for Best Director.
In 1760 Scottish poet James Macpherson set the world ablaze with stories of the third-century Scottish bard, Ossian. This tartan-trimmed tale of Highland history spread far and wide, capturing the imagination of thousands– but was it built on a deception?
In 2026 Scottish poet Martin O’Connor decides to revisit Macpherson’s epic and begins to question his own relationship with Scottish culture. The sporrans, the stags, the shortbread – do these ‘gift-shop’ images of Scotland hold us back or bring us forward? What does it mean to be authentic, and is the truth sometimes better told in a lie?
Imagine that ye didnae ignore the myths.
Imagine ye were telt yer history.
Imagine ye could hod onto the stories.
Imagine ye could create yer ain truth.
“A tartan wrapped gift of a show” The Herald
Martin will be joined on stage by Josie Duncan, Iona Mairead and Mairi McGillivray, three distinctive Gaelic choral singers, singing original songs composed by Oliver Searle.
Audiences are invited to join Martin and Macpherson on an oral odyssey spanning centuries of Scottish history, exploring the myths we tell each other and the stories we tell ourselves.
Through the Shortbread Tin was nominated for Best New Play in both the Critics’ Awards for Theatre in Scotland 2025 and the UK Theatre Awards 2025.
Through the Shortbread Tin is part of the National Theatre of Scotland’s 20th birthday programme, marking twenty years of game-changing theatre. National Theatre of Scotland is delighted to be part of the Scottish Storytelling Centre’s 20th anniversary celebrations, as well by being part of their specially curated Festival Fringe programme, the centre piece of their year’s anniversary offering.
BACKGROUND TO OSSIAN
In 1760 Highlander Macpherson published Fragments of Ancient Poetry to great critical and commercial acclaim.
The poems were collected from oral sources around Scotland and were presented as the work of a third century bard, Ossian, soon dubbed The Homer of the North. There soon followed two other publications, Fingal and Temora, and together they set the Scottish and European literary world alight.
The ‘Ossian effect’ soon saw a rise in interest in Scottish and Highland ways of life and an increase in tourism and cultural interest. The impact of Ossian was immediate and permanent, even if the individual poems eventually fell out of fashion. But soon after publication, debates over Ossian’s aesthetic and moral ‘legitimacy’ surfaced, which plagued the writer and the impact and legacy of the work.
Martin O’Connor is an award-winning theatre-maker, performer and poet from Glasgow. He is interested in exploring ideas of voice and identity through theatre and poetry, with particular interest in Scots, Gaelic and verbatim. Martin won Scots Performer of the Year Award at the Scots Language Awards 2024.
He was granted a Gavin Wallace Fellowship in 2018, hosted by Playwrights’ Studio Scotland and the Lyceum Theatre, marking the first stage in his research into James Macpherson and Ossian.
He makes work for solo performance as well as with, and for, other people. He was the National Theatre of Scotland Writer in Residence in 2020. Previous projects include Turntable (MJ McCarthy/Red Bridge Arts), Mark of the Beast (Martin O’Connor/Platform), Togail Nàisean/ Building a Nation (Glasgow Life).
This remount of Through the Shortbread Tin is directed by Joanna Bowman. Joanna has directed for the Royal Shakespeare Company, Citizens Theatre, Chichester Festival Theatre, Tron Theatre, Dundee Rep Theatre, Perth Theatre, and Òran Mór.
Previous productions include the award-winning Tron Theatre Company production of Escaped Alone, Doubt:A Parable (Dundee Rep) and most recently, Sweat (Citizens Theatre and Royal Lyceum Theatre Edinburgh). She was Associate Director of the Tron Theatre between 2022 and 2025 and is Associate Artist with the Citizens Theatre. Joanna won the 2024 CATS Award for Best Director.
The original production of Through the Shortbread Tin was directed by Lu Kemp, a theatre director and dramaturg with a distinctive reputation for her work in new writing. Lu was Artistic Director of Perth Theatre between 2016 to 2023.
Her tenure was notable for supporting the creation of new work by Scottish artists and community engaged productions. As a freelance director, Lu has worked for The Citizens, The Royal Lyceum Theatre, National Theatre of Scotland, Artangel, London, The Tricycle, Almeida and The Royal Shakespeare Company.
Josie Duncan is a folk-inspired songwriter and award-winning singer from the Isle of Lewis. Her songs have been showcased worldwide from the Hebridean Celtic Festival Opening Concert to the National Celtic Festival Australia. Josie’s music features in National Theatre of Scotland’s Carry Me Home – A Ferry Tale, an award-winning short film directed by Seth Hardwick, and she reprises her role from the original production of Through the Shortbread Tin in 2025.
Iona Mairead is a Gàidhlig singer from the village of Bravas on the west coast of Lewis. Iona joined the line-up of An Lanntair’s Hebridean Women 2023 concert when she was just eighteen and returned to the HebCelt stage with her first solo slot last summer. She recently competed at Mòd Lochabar 2025, reaching the finals for the Traditional Gold Medal.
Her debut EP, “Tog do Ghuth” (2024) pairs traditional elements of Gàidhlig song with dreamy, electronic arrangements, creating a fresh and easy listen. Iona is driven by her passion to keep the Gàidhlig language and its poetry alive, but also the potential to explore new possibilities and boundaries for contemporary Gàidhlig music.
Mairi McGillivray is a Gaelic singer from the island of Islay off the west coast of Scotland.
Mairi has performed at various venues and festivals across the UK and Europe including, Celtic Connections, The Reeling, Jura Music Festival, EDF and Under Canvas. Mairi graduated from the Royal Conservatoire of Scotland in 2020 and has since won a prestigious Danny Kyle Award in January 2021 and was a finalist in BBC Radio Scotland Young Traditional Musician of the Year 2023. Mairi’s debut album, Mo Thìr will be released in July 2026 with grounding in songs from and about her native Islay. Joined by host of acclaimed musicians and produced by John Lowrie, it is set to bring old and new songs to life with their captivating style.
Through the Shortbread Tin at the Edinburgh Festival Fringe
Venue: Scottish Storytelling Centre
Dates at Edinburgh Festival Fringe: Thursday 6 August (Preview); Friday 7 August to Monday 31 August (no shows on Wed 12, Sat 15, Wed 19, Wed 26 August)
Time: 4.45pm
Touring to Glasgow Cathedral (Thurs 3 September to Sat 5 September); Stirling Castle (Fri 11 September to Sun 13 September) and Urquhart Castle (Visitor Centre) (Thurs 17 September to Sat 19 September).
Underbelly George Square – Udderbelly: 6 – 31 August: 6:00pm
For the first time ever, Sumo Wrestling comes to the Edinburgh Festival Fringe this summer.
Following a successful run in Osaka and an international debut, selling over 10,000 tickets, at the Adelaide Fringe Festival in Australia, The Sumo Show HIRAKUZA will make its Edinburgh Festival Fringe debut this summer, bringing audiences an introduction to one of Japan’s oldest sporting traditions through a live theatrical experience.
The Sumo Show HIRAZUKA gives audiences the chance to see Sumo demonstrated and performed by former professional sumo wrestlers, whilst offering audiences the chance to discover the history, rules, rituals and techniques behind sumo, Japan’s national sport.
Performed in a dohyo, or sumo ring, the production combines authentic demonstrations of the sport with theatrical staging, dramatic visuals and immersive sound, giving audiences an opportunity to experience the athleticism, discipline and traditions of sumo up close.
Alongside competitive bouts between former professional wrestlers, audiences will learn about the customs and etiquette that surround the sport, from its ceremonial traditions to the techniques used inside the ring.
“We’re excited to bring the weight of more than 1,500 years of Japanese tradition to Edinburgh this summer.
“Our performers have competed at the highest level of sumo, and this show is an opportunity to share the history, rituals and excitement of Japan’s national sport in a way that’s accessible and fun.
“We hope audiences will laugh, learn, cheer and maybe even discover they have what it takes to step into the ring themselves.” Sumo Hall HIRAKUZA
Sumo has been practised in Japan for more than 1,500 years and remains an important part of the country’s cultural heritage and is recognised as the country’s national sport. Originating in ancient Shinto rituals, it developed from ceremonial contests performed to pray for good harvests into the professional sport seen today.
While modern tournaments attract audiences from around the world, many of the traditions established centuries ago remain unchanged, from the purification rituals before each bout to the use of the traditional dohyo, or sumo ring.
The Edinburgh production gives audiences the opportunity to experience both the athletic competition and the rich cultural heritage that continue to define the sport
HIRAKUZA is a Japanese entertainment company dedicated to presenting live sumo performances and cultural experiences featuring former professional sumo wrestlers.
Based in Osaka, the company was created to introduce visitors from around the world to the history and traditions of Japan’s national sport in an accessible way.
Reflecting Osaka’s reputation as a city known for its entertainment culture, HIRAKUZA combines authentic demonstrations with a welcoming and engaging presentation, making the experience suitable for audiences with little or no previous knowledge of sumo while remaining rooted in the sport’s traditions.
What the press have said about The Sumo Show HIRAKUZA:
“Culture, entertainment, and the overwhelming strength of the sumo wrestlers. An unforgettable experience that exceeds expectations in every aspect.” ★★★★★ My Adelaide Tribe
“Authentic, incredibly powerful, and outstandingly entertaining. Definitely a must-see show at this year’s Adelaide Fringe.” ★★★★★ What’s On In Adelaide
“It flamboyantly conveys the power and intensity of sumo while also deepening the understanding of tradition and culture.” ★★★★★ Glam Adelaide
Underbelly is bringing some of the most exciting names in comedy to the Fringe this summer with a programme spanning improv, musical comedy, standup and character comedy.
Award-winning author, actor and comedian Sara Pascoe (Taskmaster, Live at the Apollo, QI, Mock the Week) will be performing at McEwan Hall in Sara Pascoe: For One Night Only. Comedian, actor, presenter and author Russell Kane (Big Brother’s Big Mouth, Freak Like Me, Geordie Shore: The Reunion) brings his high-energy show Russell Kane: HyperActive to the Fringe 16 years after winning an Edinburgh Comedy Award. BAFTA winner Jack Rooke (creator of Hulu/C4’s Big Boys) revives and updates his debut show Jack Rooke: Good Grief, a decade on from its first Fringe run.
Acclaimed comedian and ventriloquist Nina Conti brings Nina’s C*nti Cabaret to McEwan Hall, joined by her masks and by some of her favourite acts from across the Fringe. Stealing voices in a different way, Britain’s foremost political impressionist Rory Bremner blends sharp comedy, pitch-perfect impressions and surprising revelations in Rory Bremner: Making an Impression.
Following his sold-out London run, Simon Amstell brings his show Simon Amstell: I Love It Here to the Fringe. Just after finally finding inner peace at his friend’s California beach house, Simon receives an invitation from the man who first ignited his teenage desire, throwing his newfound calm into chaos.
Instagram sensation Depths of Wikipedia (1.6 million followers) will be bringing to light some of Wikipedia’s murkiest depths (think ‘list of sexually active popes’), and celebrating the beautiful monster that is an encyclopedia run by anonymous but extremely human volunteers. Viral American comedian Gianmarco Soresi (1.2 million followers on Instagram) celebrates the theatre kid in all of us in his show Gianmarco Soresi: Theatre Adult.
Palestine Comedy Club presents Hanna Shammas Takes It To Heart, a combination of storytelling and stand-up exploring the complexities of everyday life as a Palestinian living in Haifa, in the 1948 territories. In Sammy J: Hero Complex, acclaimed Australian comedian Sammy J details the true story of how swapping comic books with his school gardener set off a chain of events leading to both the birth of his daughter and to him committing a crime.
The programme also features some of the UK’s biggest improv acts: America’s Got Talent runner-up Christ Turner creates jaw-dropping freestyle rap from audience suggestions in Chris Turner: In the Moment. Internet sensation improv troupe Shoot From The Hip (3 million followers across Instagram and Tiktok) will be taking the stage at McEwan Hall.
The classics provide fertile ground for comedy. The smash-hit West End Austentatious: An Improvised Jane Austen Novel returns for its 13th year at the Fringe, an all-star cast improvising a new Jane Austen novel every day. Sh!t-faced Shakespeare returns this year with Sh!t-faced Shakespeare: Hamlet: an entirely serious adaptation arguably the Bard’s most famous tragedy, other than the fact that one member of the cast is, well, sh!tfaced.
The programme also features some fantastic LGBTQ+ comedians. Drag king Roger Prick brings his debut Fringe hour Roger Prick: Sexopolis, in which the 1970s pornographer, erotic novelist, and lecherous casanova relaunches his dirtiest novel, revised to make it completely appropriate for modern feminism. Catch (and maybe kiss?) Alex Franklin (Channel 4, HBO Max) exploring love, romance, and kissing as a trans womanin Alex Franklin: Kiss Me x. Justin Elizabeth Sayre is a 40-Year-Old Woman explores what it means to be a 40 year old woman – a category not necessarily tied to either age or gender.
The comedy programme features a number of people you may have seen on your TV – Sapphire McIntosh, bringing her football-inspired show Sapphire McIntosh: Squeaky Bum Time, appeared as a footballer on the most recent season of Ted Lasso. Edinburgh Comedy Award Nominee Freya Parker, who’s appeared in Jurassic World: Dominion, Wonka, One Day (Netflix), and as one half of sketch duo Lazy Susan (Amazon, BBC3)brings her new show Frey Parker, An Hour of Decay! tackling the terrifying subjects of ageing, AI and Vinted.
Two annual highlights of the Fringe also return. Underbelly’s Big Brain Tumour Benefit brings together a massive line-up of comedy stars to raise money for The Brain Tumour Charity, who do vital research in treatment for the most deadly cancer to children and adults under 40. Edinburgh Comedy Allstars brings together the biggest, brightest comedians at the Fringe in the iconic purple cow, Udderbelly – this year celebrating its 20th year as a venue.
From hidden gems to Fringe favourites, the full programme is now on sale
Over 400 shows on sale across six Edinburgh Fringe venues
New writing, returning favourites and international companies from around the world
A musical theatre line-up featuring suffragettes, superheroes, lifeguards and mafiosos
Political satire takes aim at everyone from Liz Truss to reality TV traitors
Award-winning circus, cabaret and physical theatre from some of the Fringe’s most exciting companies
theSpaceUK has unveiled its full programme for the 2026 Edinburgh Festival Fringe, with more than 400 shows appearing across its six venues this August.
This year’s programme brings together returning Fringe favourites, first-time companies, ambitious new musicals, award-winning international productions and hundreds of hours of brand-new writing. From political satire and physical theatre to family shows, cabaret and comedy, the season offers audiences the chance to discover everything from future Fringe hits to unexpected hidden gems.
Alongside familiar theSpaceUK names, the 2026 programme welcomes artists from across North America, Europe and Australasia, with stories ranging from ancient mythology and Scottish history to influencer culture, reality television and the end of the world.
Theatre Highlights
If reality television has taught us anything, it’s that betrayal is much more entertaining when everyone is wearing velvet. A Traitors Pantomimetakes the nation’s favourite game of deception and gives it a healthy dose of panto nonsense, complete with Dame Claudia, suspicious faithfuls and traitors who wouldn’t know subtlety if it voted them out at the roundtable.
Politics remains fertile ground for Fringe comedy. The Last Days of Liz Truss?joins Britain’s shortest-serving Prime Minister on her final morning in Number 10, while January 6th The Musicalasks perhaps the most important question of modern American politics: how do you celebrate your birthday when it’s become synonymous with an attempted insurrection?
Meanwhile, influencer culture comes under the microscope in atticwife, where a seemingly perfect tradwife lifestyle starts to look rather less aspirational once the attic door is locked.
There are darker journeys too. In The Hunger, two women cling to survival on an isolated Yorkshire farm as the outside world grows steadily more dangerous. At the other end of the emotional spectrum, The Cut of Her Jib delivers menopause, murder and marital breakdown with a large gin and absolutely no apologies.
Shakespeare also gets the full rock-star treatment in Rockbeth. Macbeth has always been ambitious, but this time he’s armed with the music of AC/DC, Black Sabbath and The Sex Pistols. What could possibly go wrong?
Musical Highlights
The musical programme this year is gloriously unhinged.
In Spraywatch: A Beautiful Rescue, a Californian lifeguard finds herself marooned in a struggling British seaside town where crabs, suspicious locals and civic pride collide in what promises to be one of the Fringe’s most joyfully ridiculous new musicals.
Elsewhere, Texas Annie: The Legend of the Moan Rangerfollows a fugitive sex-toy salesperson across Texas after an unfortunate change in legislation. As Fringe premises go, it’s certainly memorable.
History takes a more serious turn in VOTE: The Musical, a stirring exploration of the suffragette movement and the women who refused to remain silent. Meanwhile, New Zealand company The Barden Party arrives with Heracles: Of Men and Beasts, a folk musical that finds fresh humanity within one of mythology’s greatest heroes.
Then there’s This Little Thing of Ours, proving once and for all that organised crime and show tunes make surprisingly comfortable bedfellows.
Comedy Highlights
Death, taxes and the Edinburgh Fringe. Two of those things are unavoidable, & taxessomehow manages to make all three funny. Jasper the Ghost has spent an eternity waiting for his big break as a stand-up comedian, and now he’s finally ready to take centre stage. What follows is part clown show, part existential crisis and part bucket-list adventure.
New York comic Tori Piskin turns her attention to the strange rituals of the ultra-wealthy in Poor Little Rich Girl. Raised among Manhattan’s elite, she approaches her own upbringing with the curiosity of an anthropologist and the ruthless honesty of a stand-up comedian. Think Gossip Girl with fewer filters and more self-awareness.
Fellow New Yorker Tori Morancay arrives with Le French c’est Freak, a fast-paced hour exploring cultural confusion, dating disasters and the peculiar experience of trying to build a life while stubbornly refusing to lose your accent.
Returning after previous Fringe success, Grant Sharkey’s cult musical comedy WEBBER! once again charts the rise of Andrew Lloyd Webber under the unlikely mentorship of Margaret Thatcher. Equal parts affectionate tribute and merciless satire, it remains one of the Fringe’s most gloriously cheeky musical comedies.
Meanwhile, American troupe Big Tobacco asks the question nobody was brave enough to ask: what if Pinocchio was completely and utterly broken? Big Tobacco’s Pinocchiotakes the beloved children’s story, throws it out of the nearest window and rebuilds it as a relentless barrage of absurd comedy.
And if you need a reminder that clowning is alive and well at the Fringe, All Tied Upsees two office workers literally tied together by a rope and forced to cooperate. Simple premise. Endless chaos.
Dance, Physical Theatre and Circus Highlights
Some stories are best told without words. Award-winning company Flying Rabbit Circus brings Box [M]to Edinburgh following multiple Best of Fringe awards. Using acrobatics, movement and visual storytelling, the production explores gender identity, family and belonging through the relationship between siblings growing up in an Asian American immigrant household. Personal and specific, yet strikingly universal, it has earned acclaim wherever it has travelled.
Fringe favourites Suitcase Dance Theatre return with Allura, another beautifully crafted fusion of dance and theatre. Tap, jazz and contemporary movement combine in a dreamlike exploration of distraction, connection and the things we spend our lives searching for.
Elsewhere, I Made You a Mixtapetransports audiences back to a 1990s dorm party where friendships are formed, tested and remembered through music rather than dialogue. Funny, awkward, nostalgic and occasionally chaotic, it captures the emotional rollercoaster of youth with remarkable honesty.
Music Highlights
Fresh from her induction into the Scottish Traditional Music Hall of Fame, Anne Martin brings An Tinneto the Fringe. Inspired by the true story of a Highland family displaced during the Clearances, it connects Scotland, Australia and generations of family history through one remarkable object – a cooking pot chain carried across the world.
Celebrating fifteen years of touring and acclaimed Fringe appearances, Elsa McTaggart presents #SHORN, an intimate evening of original music, storytelling and reflection. Personal, honest and occasionally vulnerable, it marks both a milestone and a fresh chapter.
For those craving a little soul, Divas of Soultraces the evolution of one of music’s most enduring genres through iconic songs and the stories behind them. Elegant, heartfelt and packed with timeless classics, it’s a welcome opportunity to slow down amid the frenzy of the Fringe.
Then there is Elias Faingersh’s Solo from the Pit. Part concert, part stand-up comedy and part personal memoir, the internationally acclaimed trombonist reimagines famous operas while sharing stories from a remarkable life in music. Not many performers can claim awards from Reykjavik to Orlando, but Faingersh makes it look effortless.
Returning to the Fringe once again is Frankie Mack with Wired Differently – Scotland’s ADHD Showman. One evening might feature Sinatra. The next could include Elvis, Michael Bublé or one of Frankie’s own songs. The only certainty is that no two performances are likely to be the same.
Cabaret and Variety Highlights
Magic, music and mayhem collide throughout this year’s cabaret programme. Sean Alexander returns for a third consecutive Fringe with 1 Moment in Time, blending illusion, mind reading and audience stories into an experience that is as much about memory and personal milestones as it is about impossible feats.
Direct from Canada comes The Cheesecake Burlesque Revue, celebrating twenty years of body-positive burlesque with enough glitter, glamour and joyous silliness to power half of Edinburgh. Winners of the Burlesque Hall of Fame’s Best Large Group award, the Cheesecakes continue to prove that confidence is contagious.
For something completely different, Human Jukeboxturns the audience into contestants in an interactive musical game show. Expect theme nights, surprise challenges, questionable competitiveness and the very real possibility that complete strangers will become stars for the evening.
Meanwhile, BBC’s All Together Nowfinalists The Sundaes bring Diva Las Vegasback to the Fringe for a limited run. Combining powerhouse vocals, comedy and the music of some of the greatest divas of all time, it’s Vegas by way of Edinburgh – and considerably easier on the airfare.
And in Banjos and Juggling: A World Vaudeville Adventure, Brian Tomaszewski somehow manages to combine live music, storytelling, juggling and global musical traditions into a one-person variety show that sounds delightfully impossible until you see it happen.
Children’s Highlights
Award-winning author Gareth P Jones invites audiences to help transform his picture book into CinderGorilla: The Musical. Armed with a ukulele, piano, trumpet, loop pedal and a pair of puppets, he creates a musical adventure that is different every time.
Young princes, princesses and enthusiastic singers can join Jasmine Alice forOnce Upon a Tune, a magical singalong celebration packed with beloved animated classics and enough sparkle to brighten even the rainiest Edinburgh morning.
And for children who prefer making up the story themselves, Improv Banana – Kids Comedy puts creativity centre stage. Led by the quick-witted Roy Allaway, young audience members are invited to jump into games, create scenes and discover that in improvisation there really is no such thing as a wrong answer.
Charles Pamment, Artistic Director of theSpaceUK, said: “In our 31st year of presenting work at the festival it is without doubt that our enthusiasm and passion to present the very best new writing platform hasn’t wavered. Indeed it is with renewed energy that we present not only the largest platform at the 2026 festival but also the most diverse programme bursting with original writing from every genre and presented by rich tapestry of global production houses. We can’t wait for you to enjoy and experience our 2026 programme. Welcome. “
Today, Thursday 4 June, the Edinburgh Festival Fringe Society is delighted to launch the 2026 Edinburgh Festival Fringe programme.
This year’s programme celebrates the diverse range of creativity at the Fringe and includes work from 71 countries – reinforcing the Fringe’s place within the world’s cultural landscape, with performers hailing from around the globe.
The programme features 3,649 shows across 258 venues, making up 53,884 performances, with themes tackling some of the most topical issues being discussed in the world today. Prominent themes include artificial intelligence, cults, the manosphere, identity crisis, social class, Y2K nostalgia, the state of the world and resilience and hope.
Launching the 2026 Edinburgh Festival Fringe programme, Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said:‘Programme launch is an exciting moment for everyone involved in making the Festival Fringe happen. Thank you to the artists, venues, producers, technicians, promoters, support staff and audiences that bring their unique creative lens and exceptional energy to Edinburgh each August.
‘Within the number of productions registering this year, we’ve seen a notable increase in artist registrations from overseas. This tells us that, despite the economic and political headwinds the world is facing, the Fringe continues to be relevant and important to our artists, and taking part marks, for them, a significant moment and investment in their careers.
‘This year’s Fringe programme is packed with every kind of performance, so we’re asking audiences to mix it up and explore the unique, creative performances available at this Fringe.
“From theatre or circus, or the best of comedy, music, dance, children’s shows, magic or cabaret, there is something for everyone in Edinburgh this August.’
In Cabaret and Varietyat theSpaceUK,Confirmation Sponsor Variety Hour presents ‘the best damn talent show ever’ that is ‘sponsored by God.’ Head to artSpace@St Marks for a Piano Recital of Dvořák’s Suite, with ‘much variety and richness.’show
In Dance and Physical Theatre, Korean Tightrope Walking explores the ‘edge of balance and freedom’ through the traditional theatrical form of jultagi at Meeting Point at the Meadows.
There are a range of new shows at the Scottish Storytelling Centre. In Children’s Shows, Romeo and Juliet for Bairns portrays ‘an immersive, theatrical, comical version of the love story of Romeo and Juliet’ just for children. Exhibition: Craigmillar Tapestry showcases ‘a community initiative to create a series of tapestry panels representing the rich history of Craigmillar.’ The Scottish Storytelling Centre also presents Spoken Word performances such as Traditional Tales, which explores ‘folk tales, fairie tales, myths and legends, stories which have been handed down to inspire and entertain across generations.’
In theatre,the Scottish Storytelling Centre’s Irrational explores the balance between mathematics and storytelling to ‘reflect on the role of mathematics in Western culture.’ In Marjolein Robertson: Shetland Folklore at Traverse, Robertson takes audiences ‘across the sea to the UK’s most northerly isles for an hour of immersive tales.’ Meanwhile, over at theSpaceUK, Until Hope Fades Away ‘follows Ali, a young man anxiously waiting at an old harbour for the return of his father.’
At Pleasance, Copycat features Fringe First winner Joe Sellman-Leava as he explores whether ‘AI spells the end of humanity, or a dawn of a new utopia?’ At Hoots, Australian freestyle comedian Stian Macshane challenges a custom-built AI controlled entirely by the audience to a fully improvised rap challenge in RapGPT: Macshane.
Head to Assembly for An Echo in the Void, ‘a darkly funny, emotionally charged chamber thriller’ about four strangers who must choose between a painful reality and a perfect world designed by AI.
At Just the Tonic, Improbotics Presents: Artificial Reality, letting ‘audiences become producers of a reality show… Because of budget cuts, “celebrities” are recreated using questionable artificial reality methods (deep fakes, video generation and AR glasses to send lines from a chatbot to control the “celebrity”).’
‘Can you create a new and exciting innovative business and still be ethical?… The Provocateurs: Ethical Innovators? / Satellites Destroy Privacy at The Stand Comedy Club explores if new ideas and technologies – including AI – can still be ethical and inclusive’. Over at Venue 13, ‘step into an intimate, immersive campfire where mythical forces of nature meet in the shadow of a changing world. Once again guided by AI database, Symbiolene, as she conjures figures from her past: The Green Man, Brigid and the Cailleach’ in AI Campfire (return).
At Laughing Horse, The Buddha Wears Prada is ‘a dark stand-up comedy hour about Sofia May’s experience as a former member of a Buddhist cult’s inner circle.’ All Religions Explained – The Cabaret Musical is ‘a piano-pounding cabaret musical celebrating faith and the human comedy of belief’ at PBH’s Free Fringe.
Taking place at Gilded Balloon, Brit Barron: CHURCH explores stand-up, storytelling and gospel music about Barron’s experience as a former megachurch pastor. Meanwhile, Prophets from Fringe First-winning writer Jack MacGregor is at Assembly,travelling to Saint John to research the ‘dangerous theology of the cult’ that has taken over.
At Laughing Horse, Eat Pray Cult is ‘ a stand-up comedy about getting divorced and joining a cult’ in a ‘seasonal, off-grid, techo-futurist protopia and decentralized intentional community’.
Sex, Drugs and Conscious Souls at PBH’s Free Fringe explores the unlikely love story built upon polyamorous throuples between a pastor and a prostitute. It focuses upon ‘healing from religious trauma and mental illness while exploring society’s stigmas around sex, drugs and new age consciousness.’
Audiences can also join Jonas and Sylas, who tell their experiences of escaping a cult in Oh My Jehovah! at Hoots.
At Pleasance,MAN!FEST: The Drag Boyband Musical is the ‘riotous drag musical that exposes toxic masculinity and its effect on boybands and fangirls.’
At Monkey Barrel Comedy, Finlay Christie: Champagne Casanova provides an hour of stand-up discussing ‘the myths constructed by incels, billionaires and even human people, that mean we don’t have to admit we’re ordinary, rejected or wrong. There’s also a strong section on air fryers.’ Alice Fraser: Oh Man! is alsoat Monkey Barrel Comedy, with some ‘stuff to say’ about masculinity, featuring ‘a sentient Roomba and some Ancient Greek philosophy’.
In Aideen McQueen: Wo-Manosphere at Gilded Balloon,McQueen ‘finally understands dating, boundaries, attachment and the male loneliness epidemic’ in a stand-up show exploring masculinity and female delusion.
Explore a single mother’s ‘real-world encounter with the Manosphere that stokes her rage’ in SLAYERS by Corinne Salisbury at Assembly.Also, No Hard Felix follows Felix as his ‘chaotic quest to “fix” himself spirals into an accidental journey into vulnerability and the scared parts of himself he’s spent a lifetime avoiding’ at Just The Tonic.
Over at Greenside, Shinjuku follows a woman’s unfinished business in a ‘darkly funny exploration of women’s choices in a man’s world.’
In Extraordinary Alien at Le Monde, a Jewish actress and mum new to New York must prove she’s exceptional in a stand-up about ‘ambition, impostor syndrome and never quite fitting in.’ In Why English?, an Indian woman ‘questions her life in the post-colonial era’ through physical theatre at Assembly.
At Greenside, Chloe Campbell Bites Back explores Campbell’s move from County Down to London and tackles her Irish/British identity. Also at Greenside,Abby tells the story of her ‘immaculate-conception-adjacent origin story’ featuring ‘gay divorce, coming out as straight, OCD, Jewishness and Germans who fetishise it, and career heartache’ in Most of My Moms Are Gay.
Former astrophysics researcher Rao explores being ‘a brown Australian navigating family expectations, creative work and burnout in a confusing world, whilst clinging to a sense of joy’ in How Now Brown Rao at Laughing Horse.
Tap Out! (Or I’ll Hit You Again) at Gilded Balloon is a ‘dramedy story about violence, masculinity and morality; an examination of identity, purpose and male loneliness.’ Lance Mao: The Pig with the Dragon Tattoo at Hoots offers ‘a dark confessional hour about racism, mental health, fear, and embracing your crazy’ as ‘a perpetual foreigner’
‘Expect class clashes, romantic disasters and the familiar feeling of trying to do the right thing, and rarely succeeding’ in Gareth Mutch Means Well at The Stand Comedy Club. Follow a portrayal of ambition, social mobility and culture shock featuring ‘pink shell suits, Playboy garms, and Britpop’s parting cries’ in comedy Giro Baby at Greenside.
Drag performance I AM JOHNNY explores the ‘fragile power dynamics, performative masculinity and ownership of the female body’ at Summerhall.
Irene Cleans Up tells the story of an unlikely partnership between a London cleaner and a successful competitive sommelier, exploring reinvention, friendship and the ‘courage to redefine yourself’ at Paradise Green.
haim. teeth. CLUB. explores the story of a ‘working class Scottish young woman at the centre of her own narrative – as a living, breathing, contradictory person’ at Underbelly.
At Pleasance, Emmeline Downie: Gail ‘gives a voice to the voiceless: vivacious middle-aged women from Milton Keynes’.
A&E at theSpaceUK ‘invites the audience to sit in the A&E waiting room and participate in humanity’s favourite activity: voyeurism’ while meeting hospital regulars.
At Pleasance,Cecily Hitchcock: Family Recipe dives into ’00s Britain where ‘Blair and Brown played in her child mind like a Greek tragedy’.
They’re Just Small Town (Northern) Lads at Summerhall explores boyhood, masculinity and the moments young boys must decide what kind of men they will become in a Northern UK working-class town in 2000.
At Underbelly, Saving Britney, inspired by the #FreeBritney movement, returns to the Fringe to explore how the princess of pop, Britney Spears, influenced millennials’ lives and led to ‘an unbelievable moment of self-discovery.’ Over at Laughing Horse,00s Throwback Party explores Noughties’ iconography of ‘Fad diets. Flip phones. MySpace. MSN.’ through a multimedia performance.
YUCK Circus: Naughties is celebrating a decade not to be forgotten, featuring ‘high-flying acrobatics, comedy and absolute bangers’ at Assembly. Based on the film, Brassed Off shows ‘the value of solidarity and friendship and the power of music’ at Inverleith St Serf’s Church Centre.
We Were Young is at theSpaceUK, telling ‘a powerful and hilarious story about the realities of gang culture and young team mentality in Glasgow during the 90s’.
In Broken Planet Show at Just the Tonic, ‘comedy, circus and indie cosmic lunacy collide in an ever-changing nightly riot of world-class weirdos, hellbent on healing our planetary divide.’ Also at Just the Tonic, Meka Mo uses New York as a lens to comedically explore the multicultural world in ‘an age of political chaos and cultural contradiction’ in New York City Dreams.
Lorraine Hoodless: Mean at PBH’s Free Fringe tells Hoodless’ account of ‘burnout, billionaires, consumer guilt, the myth of meritocracy, and the slow collapse of society.’ The Last Funny Womanat PBH’s Free Fringe features Kate, who thinks ‘it is time to burn [the world] down.’
Political comedian Matt Forde ’embarks on finding joy amid global political turmoil, the rising tide of populism and his own ongoing health challenges’ in Matt Forde: Project Holy Moly at Pleasance.
At Paradise Green, The Pod is a comedy play about grief, the state of the world and the importance of human connection, as Kaia and Adam move to a ‘doomsday bunker that might jettison into space when the world ends in eight minutes and 19 seconds’.
Will Adamsdale tell his robo-bromance about finally embracing his old enemy technology in Will Adamsdale: AI, AI, Oh… (Or How I Wrote a Hit Sitcom with ChatGPT But We’re Not Talking Now) at Underbelly.
Part of the Made in Scotland showcase, FLOWERCORE by Siobhan Wilson at The Gilded Saloon is a celebration of ‘preservation, belonging and resilience through music and immersive imagery featuring flower videography and flower art by Scottish artists’.
In his first show in 25 years, Bruce Devlin: Mummy Loves M&S at TheStand Comedy Club explores ‘the four Ds: death, dyslexia, divorce and Dundee’, as well as the need for resilience and the power of laughter in the face of life’s challenges.
At the Ukrainian Community Centre, the Solo Way Ukrainian Choir ‘connects audiences to the passion, resilience and joy of Ukrainian music.’ At the Scottish Storytelling Centre, The Dark Pool explores ‘disability and resilience in the face of trauma and societal expectations’.
Jessies at theSpaceUK ‘dives into the highs and lows of queer life’ between 1980 and 1995 for ‘three unforgettable drag queens.’ Also at theSpaceUK, A Forgotten Woman: Mrs Oscar Wilde explores Constance Lloyd’s life ‘told through letter excerpts written in her own hand’ which reveal her ‘wit to rival Oscar [Wilde’s]’.
At The Speakeasy at The Royal Scots Club, Alan Bennett’s Talking Heads, a ‘multi-generational company of Edinburgh-based women, perform four of Alan Bennett’s iconic Talking Heads monologues’ exploring loneliness, desperation and resilience through humour.
Gilded Balloon Teviotreopens for the Fringe after being closed for renovations since September 2023, featuring Brit Barron: CHURCH, Fab Goualin: Mixed Messages, Aideen McQueen: Wo-Manosphere and many more.
Sauna Theatre @ Summerhall is a working sauna and will feature shows such as Morning Sauna Rave, Mysteries of the Picts and Bubble Schmeisis (Remixed). Sauna Theatre will be a hub for relaxing and recharging, as well as experiencing choreography and storytelling through traditional sauna rituals.
Brown’s of Leith is hosting a ‘site-specific adaption of Andrew O’Hagan’s best-selling novel’ Mayflies, part of the Made in Scotland showcase, within Leith’s unique Victorian engineering works.
Pianodrome’s new, second location at St Oswaldsshares ‘the world’s first amphitheatre made entirely from disused pianos’ which will feature free shows, evening events and workshops such as Golden Beryl: Special Oblivion, Piano Dismantling Action and Vroni’s Streetpiano Party.
The Fringe Society is grateful to the many partners, supporters, funders and sponsors this year. They would like to thank Cheez-It, The Magnum Ice Cream Company, Edinburgh Gin, Baillie Gifford, Cirrus Logic, Apex Bars & Events, Binks Trust, Bloomberg Philanthropies, PPL, EventScotland, VisitScotland, and Young Start – The National Lottery Community Fund.
The Fringe Society would also like to thank the UK Government, Foyle Foundation, SP Energy Networks, and the Changing Places Toilets Scotland Fund for their support of Fringe Central. The Scottish Government and City of Edinburgh Council for strategic funding support, the Scottish Government’s Festivals EXPO Fund support for the Made in Scotland programme; and Screen Scotland for supporting Screen Fringe.
The Fringe Society works with accommodation partners who provide much needed affordable accommodation to artists – they would like to thank Queen Margaret University, the University of Edinburgh and Theatre Digs Booker.
Health in Mind are also returning in 2026 to support the delivery of mental health and wellbeing services within Fringe Central.
The highly anticipated Made in Scotland 2026 showcase has officially gone live, unveiling a world-class selection of performances scheduled for the Edinburgh Festival Fringe this August.
For 18 years, Made in Scotland has provided vital support to Scottish artists, enabling them to forge international partnerships, reach new audiences, and connect with global creative professionals.
Supported by the Scottish Government’s Edinburgh Festivals Expo Fund, Creative Scotland and the Scottish Music Centre, this year’s talented lineup features work across dance, theatre, interdisciplinary and music. The selected productions demonstrate the remarkable range of Scotland’s performing arts scene, offering work that engages with urgent contemporary issues, caters to audiences of all ages, and draws deeply upon a rich artistic heritage.
Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said: “The Made in Scotland 2026 showcase marks another exciting chapter for celebrating Scotland’s rich and vibrant arts sector.
“The Edinburgh Festival Fringe is one of the world’s most recognised cultural marketplaces, and it offers artists and creative professionals a unique opportunity to build lasting international careers.
“This year’s Made in Scotland selection brings together a mix of artists across dance, theatre, music, and interdisciplinary practice highlighting the talents of Scotland’s artistic industry. We are delighted to support these artists as they connect with audiences and industry from across the world.”
Dance
40/40 is ‘an inspiring and moving celebration of Katherina Radeva’s 40 years as a woman, a migrant and an artist. Claiming space on a dance floor, she dances with joyous abundance and presents stories of her past, present and future’ (DB3 at Assembly @ Dance Base)
‘A poignant dance theatre show by acclaimed disabled artist Marc Brew, reflecting on his lifelong journey defying societal expectations to embrace his love for dance’ is in Boys Don’t Dance (DB1 atAssembly @ Dance Base) ‘combining movement with BMX and wheels, storytelling, lighting and an uplifting 80s soundtrack – alongside visual projections and animation, creating an immersive experience for audiences.’
Brrr at Great Hall at Nicolson Squareis ‘a multi-sensory installation and dance performance for young audiences with complex needs aged 10-18. Set within an inflatable dome, Brrr is an immersive exploration of winter featuring dance, sound, video and lots and lots of snow!’
If I Can’t Dance I’m Not Coming reframes Fritz Lang’s 1927 masterpiece Metropolis, translating silent cinema into a rigorous choreographic score. Performed by an eclectic ensemble of eight, the work rejects virtuosity in favour of dignity, threading humour, rebellion and flashes of tenderness through a democratic creative process’ (DB1 at Assembly @ Dance Base)
Theatre
‘The third child of Gaelic-speaking crofters, William McTaggart became one of Scotland’s most celebrated artists through sheer determination and hard work’ in Elsa McTaggart: Capturing the Light. ‘What is his legacy a century on, for his country and family?’ (Big at theSpaceTriplex)
Mayflies is ‘a site-specific adaptation of Andrew O’Hagan’s best-selling novel (Brown’s of Leith, Rear Warehouse). Everyone has a Tully Dawson: the friend that defines your life. This tale of 80s youth and facing mortality in middle age is a joyous and heart-breaking elegy to the young people we still carry within us.’
Equal parts hilarious and heartbreaking, Matt Anderson’s Shotgunned is a relatable and intimate piece of theatre about how the people we lose can shape who we become. Described by The Stage as ‘a cleverly composed, superbly performed, achingly moving two-hander’ (Studio Five at Assembly George Square Studios)
In Transmission, ‘Big Jimmy, is here to tell you how to keep yur grannies safe and Make Scotland Cis Again! Hilarious, curious and deeply human, Transmission (Anatomy Lecture Theatre at Summerhall) is a darkly comedic, tender-hearted performance by playwright and drag artist Nelly Kelly, exploring Scotland’s shift from world-leading on LGBT+ rights, to fertile ground for the anti-trans movement.’
‘1760: Scottish poet James Macpherson sets the world ablaze with stories of the third-century Scottish bard, Ossian – but is it built on deceit? 2026: Martin O’Connor questions his own relationship with Scottish culture. Sporrans, stags, and shortbread; do these gift-shop images hold us back or bring us forward?’ in Through the Shortbread Tin(Netherbow Theatre at Scottish Storytelling Centre)
Tongue Twister is ‘One man’s attempt to say tongue twisters in as many different languages as possible. Whilst also trying to dance. And make music. And do all the costume changes without leaving the stage. A delight for the eyes and ears, created and performed by award-winning performance artist and musician Greg Sinclair, and featuring dazzling costumes and innovative visual design’ (Cromdale Theatre at Pleasance at EICC)
Music
Explore ‘how a 2cm wildflower changed an artist’s life’ in FLOWERCORE by Siobhan Wilson. ‘Through live music and immersive imagery, songwriter Siobhan Wilson celebrates Scotland’s often overlooked wildflowers, exploring themes of preservation, belonging and resilience through music and immersive imagery featuring flower videography and flower art by Scottish artists (Basement at The Gilded Saloon)
‘Scottish Soul: From the Outer Hebrides to the Deep South, Brian Molley Quartet explore the Celtic roots of jazz. Glasgow’s multi award-winning group perform a ground-breaking suite revealing the deep, often-overlooked influence of Scottish music on the evolution of jazz’ in Tùs/Origin… and Jazz Was Born in Scotland’ (The Jazz Bar)
Interdisciplinary
Arcana is ‘a poetic, music-led journey about finding your voice and the courage to truly listen to yourself. We follow Arcana, an apprentice court composer trapped in a world of fear and obligation, as her search for “music for all” becomes a deeper quest for identity and freedom’ (Central at Assembly Roxy)
Float is ‘a beautiful, calm, immersive world designed especially for babies from birth to 12 months old and their grown-ups. Float invites you to relax with your baby and enjoy a gently interactive performance inspired by the healing powers of water. You and your baby are free to explore, engage with the performers or unwind in Float’s tranquil space.’ (Cromdale Theatre at Pleasance at EICC)
‘A mischievous masquerade lives in Jj’s stomach, uncovering dreams and destinies too affirming to be contained. DJ ladé pulses live from the heart, sending out Afrobeat, revolutionary poetry and future beats. Everything uncovered demands to be seen’ in The Masquerade (Cafe at Fruitmarket.) ‘Club ritual merges with mythic storytelling to explore how indigenous spirituality can be practised in the modern day.’
‘When a crustacean gatecrashes your birthday party and drags you into an odyssey of the mind, recovery becomes anything but ordinary. This striking true story from Ninon Noiret explores her experience with cancer and her journey to recovery. Told through “nasty” puppetry, contemporary dance and gravity-defying stunts on a five-metre Chinese Pole, The Raft of the Crab is a powerful exploration of the individual nature of physical illness and what it really takes to recover’ (Central at Assembly Roxy)
‘Myth and moving image converge in a mesmeric performance reframing Scotland’s darker ballads and folklore’. Sand, Silt, Flint ‘charts an intoxicating journey through place and memory. Unfolding as an invocation of land and lineage, experimental electronica fuses with archive material and traditional instrumentation as live vocals mesh with evocative visuals, drawing audiences into a cinematic landscape of myth, memory and song’ at (Jade Studio at Greenside @ George St)
‘Two timelines collide in this bold fusion of dance and circus, offering a fresh perspective on HIV’. In Tell Me, ‘when Grace receives a diagnosis, she is transported back to the 80s alongside Michael, a gay man navigating a very different reality. Their journeys unfold through striking choreography, Chinese pole and aerial artistry. Sadiq Ali Company, makers of five-star, award-winning The Chosen Haram, return to the Fringe with their new show’ at (Dissection Room at Summerhall)
Alongside the main theatre, dance, and music programme, the highly anticipated Made in Scotland Gigs will also return this year.
Hosted in partnership with Wide Days, this dedicated music strand will take over Edinburgh’s Cowgate on Monday 17 August, spanning three iconic multi-venue spaces: Bannerman’s, La Belle Angele, and Sneaky Pete’s. Offering an essential snapshot of the country’s diverse music scene to a public and international industry audience, this year’s line-up features eight exceptional Scotland-based acts: Azamiah, Bikini Body, Cathal Murphy, Dara Dubh, Fright Years, Haiver, Helicon, and the Tom Campbell Trio.
Gilded Balloon today announces the launch of its Show Support Fund, a new initiative designed to help artists overcome the growing financial barriers of bringing work to the Edinburgh Festival Fringe.
Delivered by Gilded Balloon Futures Ltd, the organisation’s registered charity, the fund marks a significant step in expanding Gilded Balloon’s long-standing commitment to artist development. Gilded Balloon Futures was originally established following the Cowgate fire and relaunched at the end of 2025 as part of Gilded Balloon’s 40th anniversary, with a renewed focus on supporting artists and sustaining the future of the Fringe.
At its core, the Show Support Fund will raise commercial, public and charitable donations to directly support artists in Gilded Balloon’s annual Fringe programme. With the cost of participating in the Fringe continuing to rise, the fund aims to ensure that more artists, particularly those with distinct voices and limited financial means, can bring their work to Edinburgh.
The fund is designed to be flexible and collaborative, allowing donors to support the kinds of artists and projects they are most passionate about, while Gilded Balloon identifies productions that would most benefit from additional backing. Funding may contribute to a wide range of artist’s needs, including marketing, rehearsal space, creative support, travel, accommodation and wellbeing.
Alongside the Show Support Fund, Gilded Balloon Futures will also support the So You Think You’re Funny? Artist Development Programme, helping to cover the costs of the competition and providing vital opportunities for emerging comedians. This includes financial assistance for travel and accommodation for selected performers, removing one of the biggest barriers to accessing the fringe.
In its inaugural year, the Show Support Fund has been kickstarted by a generous contribution from globally acclaimed comedian, writer and composer Tim Minchin alongside his wife Sarah Minchin, their donation will support five shows selected by Gilded Balloon Artistic Directors Karen Koren and Katy Koren, focusing on solo performers with bold voices and sharing personal stories across comedy and theatre.
Tim Minchin who first found major success at Gilded Balloon at the Edinburgh Fringe in 2005 has particular interest in supporting artists who have struggled with mental health issues who may require additional support to make the Fringe achievable with their work.
In 2026, a total of £10,000 has been raised for the Show Support Fund which will be split between five supported artists as follows:
These productions represent a mix of emerging and established voices, each facing unique challenges in bringing their work to the Fringe, from international travel costs to personal circumstances and the realities of early-career development.
Support from the fund will directly impact these artists’ ability to present their work, whether through financial relief, creative resources, or practical adjustments that make participation possible.
Karen and Katy Koren, Artistic Directors of the Gilded Balloonsaid: ““For over 40 years, Gilded Balloon has been a home for artists at every stage of their careers, from first-timers to global stars. But the reality now is that the financial barriers to getting to the Fringe are higher than ever.
“We are delighted to finally launch this fund which has been a long time coming and is about protecting what makes the Fringe special, taking risks on new voices and giving artists the chance to be seen – something we’ve always prioritised at Gilded Balloon. We want to work with supporters who believe in that mission and help us keep those doors open.
“Every year we meet extraordinary artists with urgent, exciting work who simply can’t afford to bring their work to the Fringe. The Show Support Fund and the So You Think You’re Funny? Artist Development programme – both delivered by Gilded Balloon Futures – allow us to raise funds for where it matters most.
“Whether that’s helping artists to cover travel or accommodation costs, giving artists proper time and space to develop their work, or supporting their wellbeing during what can be an incredibly intense month.
“It’s practical, targeted support that can genuinely change the trajectory of someone’s career and we are eternally grateful to our pal, Tim Minchin, for being the first to support the Show Support Fund.”
Tim Minchinsaid: “Late one night in March, 21 years ago, a furiously passionate woman with a strong Scottish accent called me up and demanded I go to the Gilded Balloon.
“I didn’t know what the fuck a Gilded Balloon was, and I was deeply cautious, because I’d spent ten years grafting away, and didn’t really believe in big breaks. But a big break is exactly what that phone call was.
“Karen Koren – and now her daughter Katy – have remained loyal friends and passionate supporters for two decades, and it’s a huge privilege to be able to support them a bit as they head into their 41st Fringe.”
A CALL TO THE INDUSTRY
Gilded Balloon hopes that the Minchins’ contribution will inspire others, particularly alumni, industry partners and Fringe supporters, to invest in the next generation of performers.
As one of the Fringe’s longest-running venues, Gilded Balloon has played a pivotal role in launching the careers of countless comedians and theatre-makers. The Show Support Fund represents a new chapter in that legacy, ensuring that talent, not financial means, remains the driving force behind who gets to take part.
By contributing to the fund, supporters will play a direct role in shaping the future of the Fringe, enabling more artists to take risks, share their stories, and reach new audiences on one of the world’s most important cultural stages.
‘Hecuba: Why Am I In Your Country?’ – At Edinburgh Festival Fringe 2026
5th – 31st August / 11.50am / Gilded Balloon – The Turret at Teviot
What happens when an ancient queen of war becomes a modern refugee at the UK border?
In “Hecuba: Why Am I In Your Country?”, Palestinian Syrian actor Arwa Omaren combines Euripides’ “The Trojan Women” with her own story of displacement in a raw, urgent solo performance that condenses 2,500 years of history into one voice.
Directed and co-written by award-winning filmmaker William Stirling, produced by Scottish founded Trojan Women Project, and recently nominated for an Offie (Off West End Award) – recognising the show’s powerful fusion of classical text and contemporary testimony, as well as Omaren’s extraordinary solo performance – this strikingly original production asks not only how we tell stories of exile, but who gets to tell them.
Performed at the renowned Gilded Balloon as part of the Edinburgh Festival Fringe, the show runs at The Turret at Teviot at 11:50am from 5-31 August 2026.
Arwa Omaren, a trained actor from Damascus, brings both classical know-how and lived experience to the role of Hecuba, the fallen Queen of Troy.
A Palestinian Syrian who fled the Syrian war, Omaren performs the myth alongside her own testimony as a “double refugee” seeking asylum in Britain – dealing with the horrors of homelessness, sleeping on the streets in the UK – and the battle to be re-united with her beloved golden retriever, Jacko, the dog she had to leave behind when she fled Syria.
The result is a really inventive, emotionally engaging piece that blurs the boundary between performer and subject, and myth and memory.
The production is led by the Trojan Women Project, an international initiative pairing and mentoring refugee performers with Greek tragedy as a means of processing displacement and reclaiming their narrative through their very own voices and expertise – they get to do what they know, including writing, acting and more. It has previously been presented at the Voila! Festival, where it drew attention for its intimate storytelling and political resonance.
Developed in community drama workshops supported by the National Lottery Community Fund, it is supported by the Mackintosh Foundation.
At its core, “Hecuba: Why Am I In Your Country?” asks important questions about the language and systems surrounding refuge: borders, bureaucracy, hospitality, and exclusion.
At a time when conversations around migration and identity are increasingly polarised, this production offers a work that is both deeply personal and unmistakably universal.
The Gilded Balloon, one of the Fringe’s longest-running and most respected venues, provides an ideal platform for bold, artist-driven work. Set within the historic Teviot complex, The Turret offers an intimate space that brings audiences into close proximity with Omaren’s performance.
Trojan Women Project is currently welcoming sponsorship and partnership support to help bring this urgent and timely work to its audience and continue its work with refugees, and welcomes conversations with organisations aligned with its themes of displacement, cultural dialogue, and social impact.
SHOW INFORMATION
Title:Hecuba: Why Am I In Your Country?
Dates: 5–31 August 2026 Time: 11:50am Venue: Gilded Balloon – The Turret at Teviot
National Theatre of Scotland announces programme for Edinburgh Festival Fringe in the company’s 20th anniversary year
The acclaimed Through the Shortbread Tin, written and performed by Martin O’Connor at the Scottish Storytelling Centre as part of the Made in Scotland programme.
One Hundred Voices – a new immersive installation, bringing creative insight into living in the care system, opening at the Scottish Parliament and running during the Scottish Parliament’s Festival of Politics. Part of Caring Scotland, a major project documenting the lives of care experienced people in Scotland.
Marking 20 years of NTS Edinburgh Festival presentations, with 42 productions across the Festival Fringe and Edinburgh International Festival, from Black Watch to Make it Happen.
National Theatre of Scotland presents
Through the Shortbread Tin
Written and performed by Martin O’Connor
Remount directed by Joanna Bowman Original production directed by Lu Kemp
With Josie Duncan and Iona Mairead
Musical Director and Composer – Oliver Searle, Sound and Video Designer – Rob Willoughby, Set and Costume designed by Emma Bailey and Rachel O’Neill, Lighting Designer – Michaella Fee, Gaelic Consultant – Alasdair Whyte
At the Edinburgh Festival Fringe 2026 at the Scottish Storytelling Centre from 7 to 31 August at 4.45pm with a preview performance on 6 August 2026.
Opening press performance at the Scottish Storytelling Centre on Friday 7 August 2026 at 4.45pm.
Part of the Made in Scotland Showcase
The story of the greatest literary hoax of all time.
Returning to the stage following a critically acclaimed and award-nominated Scotland-wide tour in 2025, Martin O’Connor’s Through the Shortbread Tin is a poetic, poignant and playful show, performed in Scots with Gaelic songs, which explores Scottish culture, myths, history and identity.
“Fierce, Funny and Challenging” The Scotsman ★★★★
“an entertaining and intelligent investigation into the illusions and inconsistencies of Scottish history, culture and identity.” The Stage ★★★★
“A tartan wrapped gift of a show” The Herald ★★★★
Through the Shortbread Tin will open in Edinburgh at the Scottish Storytelling Centre as part of the Made in Scotland Programme at the Edinburgh Festival Fringe on Friday 7 August 2026.
Twenty years since the internationally acclaimed production of Black Watch premiered at the Edinburgh Festival Fringe, Through the Shortbread Tin marks National Theatre of Scotland’s 42 productions at the Edinburgh festivals, including last year’s Edinburgh International Festival sell out success, Make It Happen.
Through the Shortbread Tin is remounted for this year’s Edinburgh Festival Fringe by Joanna Bowman, whose previous productions include the award-winning Tron Theatre Company production of Escaped Alone; Doubt: A Parable (Dundee Rep) and most recently, Sweat (Citizens Theatre and Royal Lyceum Theatre Edinburgh). Joanna won the 2024 CATS Award for Best Director.
In 1760 Scottish poet James Macpherson set the world ablaze with stories of the third-century Scottish bard, Ossian. This tartan-trimmed tale of Highland history spread far and wide, capturing the imagination of thousands– but was it built on a deception?
In 2026 Scottish poet Martin O’Connor decides to revisit Macpherson’s epic and begins to question his own relationship with Scottish culture. The sporrans, the stags, the shortbread – do these ‘gift-shop’ images of Scotland hold us back or bring us forward? What does it mean to be authentic, and is the truth sometimes better told in a lie?
Imagine that you were telt tae ignore the myths?
Imagine you didnae know anything about the country you came fae?
But imagine you started askin questions?
Imagine that you could jist replace wan myth wi another?
Martin will be joined on stage by Josie Duncan and Iona Mairead, distinctive Gaelic choral singers, singing original songs composed by Oliver Searle.
Audiences are invited to join Martin and Macpherson on an oral odyssey spanning centuries of Scottish history, exploring the myths we tell each other and the stories we tell ourselves.
A tour to sited venues in Scotland in partnership with Historic Environment Scotland will be announced at a later date.
Through the Shortbread Tin was nominated for Best New Play in both the Critics’ Awards for Theatre in Scotland 2025 and the UK Theatre Awards 2025.
Through the Shortbread Tin is part of the National Theatre of Scotland’s 20th birthday programme, marking twenty years of game-changing theatre.
National Theatre of Scotland is delighted to be part of the Scottish Storytelling Centre’s 20th anniversary celebrations, as well by being part of their specially curated Festival Fringe programme, the centre piece of their year’s anniversary offering.
BACKGROUND TO OSSIAN
In 1760 Highlander Macpherson published Fragments of Ancient Poetry to great critical and commercial acclaim. The poems were collected from oral sources around Scotland and were presented as the work of a third century bard, Ossian, soon dubbed The Homer of the North. There soon followed two other publications, Fingal and Temora, and together they set the Scottish and European literary world alight. The ‘Ossian effect’ soon saw a rise in interest in Scottish and Highland ways of life and an increase in tourism and cultural interest. The impact of Ossian was immediate and permanent, even if the individual poems eventually fell out of fashion. But soon after publication, debates over Ossian’s aesthetic and moral ‘legitimacy’ surfaced, which plagued the writer and the impact and legacy of the work.
Martin O’Connor is an award-winning theatre-maker, performer and poet from Glasgow. He is interested in exploring ideas of voice and identity through theatre and poetry, with particular interest in Scots, Gaelic and verbatim. Martin won Scots Performer of the Year Award at the Scots Language Awards 2024.
He was granted a Gavin Wallace Fellowship in 2018, hosted by Playwrights’ Studio Scotland and the Lyceum Theatre, marking the first stage in his research into James Macpherson and Ossian.
He makes work for solo performance as well as with, and for, other people. He was the National Theatre of Scotland Writer in Residence in 2020. Previous projects include Turntable (MJ McCarthy/Red Bridge Arts), Mark of the Beast (Martin O’Connor/Platform), Togail Nàisean/ Building a Nation (Glasgow Life).
This remount of Through the Shortbread Tin is directed by Joanna Bowman. Joanna has directed for the Royal Shakespeare Company, Citizens Theatre, Chichester Festival Theatre, Tron Theatre, Dundee Rep Theatre, Perth Theatre, and Òran Mór. Previous productions include the award-winning Tron Theatre Company production of Escaped Alone, Doubt:A Parable (Dundee Rep) and most recently, Sweat (Citizens Theatre and Royal Lyceum Theatre Edinburgh). She was Associate Director of the Tron Theatre between 2022 and 2025 and is Associate Artist with the Citizens Theatre. Joanna won the 2024 CATS Award for Best Director.
The original production of Through the Shortbread Tin was directed by Lu Kemp, a theatre director and dramaturg with a distinctive reputation for her work in new writing. Lu was Artistic Director of Perth Theatre between 2016 to 2023. Her tenure was notable for supporting the creation of new work by Scottish artists and community engaged productions. As a freelance director, Lu has worked for The Citizens, The Royal Lyceum Theatre, National Theatre of Scotland, Artangel, London, The Tricycle, Almeida and The Royal Shakespeare Company.
Josie Duncan is a folk-inspired songwriter and award-winning singer from the Isle of Lewis. Her songs have been showcased worldwide from the Hebridean Celtic Festival Opening Concert to the National Celtic Festival Australia. Josie’s music features in National Theatre of Scotland’s Carry Me Home – A Ferry Tale, an award-winning short film directed by Seth Hardwick.
Edinburgh Festival Fringe venue: Scottish Storytelling Centre
Dates: Thursday 6 August (Preview); Friday 7 August to Monday 31 August (no shows on Wed 12, Sat 15, Wed 19, Wed 26 August)
One Hundred Voices interactive installation opens at the Scottish Parliament as part of the Edinburgh Festival Fringe and the Scottish Parliament’s Festival of Politics 2026 before touring Scotland alongside the Ten Portraits photographic exhibition, as part of Caring Scotland
One Hundred Voices and Ten Portraits at the Scottish Parliament from 12 to 28 August and during the Scottish Parliament’s Festival of Politics 2026 on 27 and 28 August
Then touring across Scotland from 2 September to 10 October 2026: Citizens Theatre, Studio Theatre and exhibition wall; Easterbrook Hall, Dumfries; Millenium Centre, Stranraer; Reid Hall, Forfar; Hall B, Rothes Halls, Glenrothes.
A National Theatre of Scotland project in partnership with Who Cares? Scotland and the National Library of Scotland, funded with an award from The National Lottery Heritage Fund
Lead Artist and script by Nicola McCartney
Designer - Karen Tennant, Lighting Designer - Kai Fischer, Sound Design - Niroshini Thambar and Dramaturg - Roxana Cole
Artist Facilitators: Kevin Gilday, Jo Mango, Roxana Cole, Sara Shaarawi and Mal Fraser
Ten Portraits Exhibition Photographer - Chris Scott
Opening in Edinburgh at the Scottish Parliament and part of the Festival of Politics in August 2026, One Hundred Voices is an interactive installation responding to real life stories of care experienced people.
The stories were recorded for Caring Scotland, a three-year listening project, led by acclaimed playwright Nicola McCartney documenting and recording the lives of care experienced people in Scotland.
One Hundred Voices is created by a leading team of Scottish artists and theatre-makers with design by Karen Tennant, lighting design by Kai Fischer, sound design by Niroshini Thambar, script by Nicola McCartney and dramaturgy by Roxana Cole.
“Good. You’re here. Well, come on in… We understand that for many of you, this journey will be a new experience for you. We want you to feel safe with us.”
The audience is led through the installation by an audio guide. Each room presents an intimate landscape of memory, resilience and imagination, drawn from the lives of one hundred voices from Scotland’s care experienced community. Fragments of stories unfold through sound, light, and space.
This interactive installation transforms oral history into artistic encounters and asks the audience to imagine together a more compassionate Scotland where every child is cherished, every voice amplified, every future honoured. It serves as an artistic act of recognition and celebration of the one hundred testimonies recorded through the Caring Scotland project.
The experience is audio narrated by Scott Kyle and Genna Allan. Both are actors who are also involved in the wider Caring Scotland project. Scott Kyle is one of the Ten Portraits subjects and Genna worked in the project team during the story collection phase. Both are care experienced.
The Scottish Parliament’s Festival of Politics takes place in the home of Scottish politics on 27 and 28 August; and will feature over 30 events tackling some of the big political, cultural and social issues of the day.
Ten Portraits exhibition, by Caring Scotland photographer in residence Chris Scott, opened at Inverness Museum on 05 May ahead of touring to Shetland, Aberdeen and Edinburgh as well as touring alongside the One Hundred Voices installation at the Scottish Parliament and beyond.
The Sound Collection –a collection of stories forms part of the audio archive of the National Library of Scotland with short excerpts also available on the NTS website.
The Sound Collectionextracts can be listened to here.
Supported by The Weir Charitable Trust and The Rayne Foundation
The Sound Collection, Ten Portraits and One Hundred Voices are the public culmination of Caring Scotland, a three-year listening project led and inspired by the practice of playwright and socially engaged theatre-maker, Nicola McCartney, documenting the lives of care experienced people in Scotland since 2024.
The project is a unique partnership between National Theatre of Scotland, Who Cares? Scotland and the National Library of Scotland and is funded with an award from The National Lottery Heritage Fund.
Ten Portraits is a touring photographic exhibition of photographs captured by Chris Scott, inspired and informed by the Caring Scotland listening project. Chris is a Scottish photographer with a care experienced background, whose style is contemporary with a dramatic and atmospheric feel. Chris’s unobtrusive photography style captures the essence and personality of the people he photographs. He has taken individual portraiture photographs of ten of the personal story contributors during the project.
The Sound Collection – all stories gathered from the listening project have been safely deposited in a new Caring Scotland oral history audio archive, housed in perpetuity at the National Library of Scotland for public access as well as excerpts being made available online via the NTS website.
A team of multi-disciplinary artists worked with Nicola on the research into Caring Scotland. Artists Kevin Gilday (poet), Jo Mango (musician & songwriter), Roxana Cole (director) and Mal Fraser (filmmaker) and Sara Shaarawi (playwright), engaging with care experienced people from across Scotland, collecting their stories for this unprecedented oral history audio archive.
Lead artist, Nicola McCartney, has worked on many artistic projects with the care experienced community, and has worked within the system as a member of the Children’s Panel and a foster parent.
Caring Scotland is a continuation of her creative practice and her ongoing research into the care system in Scotland. Previously, in 2021, Nicola was commissioned by National Theatre of Scotland to create Holding/Holding On as part of their Care in Contemporary Scotland – A Creative Enquiry programme.
Nicola’s practice of active listening enables participants to take control of their narratives. Caring Scotland empowers the care experienced community by offering members a platform for their voices to be heard by the people of Scotland.
Nicola McCartney, lead artist, said: “It has been an honour and a challenge to lead such a large project, documenting the lives of Care Experienced people in Scotland in their own words.
“We look forward to now sharing these stories with the nation in many different and innovative ways. The testimonies we have listened to of how the Care system has impacted on people’s lives are a vital and often overlooked part of what Scotland’s story was, is now and what we can become.”
With The National Lottery Heritage Fund’s support, the project has been open to all members of the care experienced community across Scotland to contribute to and take part in.
One Hundred Voices and Ten Portraits at the Scottish Parliament as part of the Edinburgh Festival Fringe, Wed 12 to Fri 28 August 26; Festival of Politics, Thu 27 to Fri 28 August 26 then touring to
Citizens Theatre, Studio Theatre and exhibition wall, Wed 2 to Sat 12 September 26;
Easterbrook Hall, Dumfries, Thu 17 to Sat 19 September 26;
Millenium Centre, Stranraer, Thu 24 to Sat 26 September 26;
Reid Hall, Forfar Thu 1 to Sat 3 October 26;
Hall B, Rothes Halls, Glenrothes, Thu 8 to Sat 10 October 26.
Tickets are Pay What You Decide pricing.
Ten Portraits touring to Inverness Museum, Tue 5 to Fri 29 May 26;
Mareel, Shetland, Tue 2 to Fri 26 June 26;
Aberdeen Music Hall Gallery Space, Wed 1 to Fri 31 July 26;
Gallery Space, Rothes Halls, Glenrothes, Sat 10 to Friday 30 October;
Royal Infirmary Edinburgh, presented with Tonic Arts, Sun 1 November 26 to Sat 27 February 27.
More details on the Caring Scotland project can be found here.
