Scotland’s new writing theatre, Edinburgh home for Fringe and Imaginate
The Edinburgh Festival Fringe Society has moved its operations into a permanent space on Infirmary Street, transforming Fringe Central into a year‑round hub for artists, welfare support, rehearsal spaces and industry services. The project, funded by the UK Government and partners, is designed to support a thriving, inclusive fringe ecosystem alongside the city’s galleries and venues.
Fringe performers from The Scotsman, Guardian and Independent discuss their journeys, challenges and upcoming Edinburgh shows, offering a window into the festival’s evolving landscape.
A wave of new music sees artists blending genres and asserting creative independence. From Labrinth’s Cosmic Opera Act II to FLO’s Therapy at the Club and Shaboozey’s country-infused album, creators push for control over their work while embracing broader collaborations.
A round-up of recent Fringe reviews highlights how new plays and games are probing technology’s reach—from AI ethics in Prove You’re Human to aging and human longing in Lifelong Protocol and Water Colour, with sharp direction and performances shaping urgent conversations.
A new show from Dundee Rep and Solar Bear, The Singer, centers Deaf performer Jamie Rea and a listening partner, with KT Tunstall providing original music. The production marks a milestone for bilingual, Deaf-inclusive theatre on Edinburgh’s main stages, following a decade of development in Scottish arts.
A round-up of fringe-fronted interviews from The Scotsman and The Guardian, capturing performers sharing inspirations, challenges and hopes for Edinburgh Fringes, with a look at what it means to stage improv and solo shows in a crowded festival.
A Fra Fee-led writer grapples with the legend of Liberace in a meta-stage piece at Pitlochry, where Simon Russell Beale’s Liberace and a flamboyant production set the tone. The show examines sexuality, lie and performance, while a longer Wallace musical and a new Play, Pie and Pint piece provide counterpoints on history and memory.
New evidence suggests Till the Bells Ring, a 1926 Scottish feature with synchronized sound, premiered in Edinburgh a year before The Jazz Singer. Discrepancies in archival dating have led researchers to re-evaluate the birthplace of the modern sound film.