Summerhall, theatre
Photograph: Peter Dibdin

Summerhall

The current king of the city’s arts scene, hosting performances of all shapes and sizes. Even when there’s nothing on, great bars and food are worth dropping by
  • Art | Arts centres
Advertising

Time Out says

As Edinburgh’s newest – and hippest – multi-arts venue, Summerhall has quickly evolved from its former life as the Royal Dick School of Veterinary Studies into a cutting edge performance space.

Year round it puts on a programme of largely avant-garde, occasionally political exhibitions, talks, music, theatre and dance, and film events – as well as functioning as a space for workshops and residencies.

It’s quickly emerged as the go-to for ground-breaking, thought-provoking work during the Festival, with shows performed in everything from the lecture hall-slash-theatre spaces, to site-specific works in basement corridors and tiny lifts. In lesser hands dubbing yourself as a ‘cross cultural village for innovators’ would sound a little, well, pretentious. But here, they largely deliver.
 
Geeks aren’t ignored either, with the addition of TechCube providing a space for technology start-ups to rub shoulders and develop their ideas.

Eccentricities from its former life as a veterinary school reside throughout what’s essentially a labyrinth of a building, from the odd bit of taxidermy on the wall and operating tables in the bar, to the much-loved Dissection Room.
 
Beyond its success an arts venue, it’s also establishing itself as a popular place to grab a coffee or a beer, and The Royal Dick Bar and Bistro, which was once the Small Animal Hospital at the school is fast emerging as great place to loiter in, largely thanks to a decent food menu. Across in the café, a decent cuppa is guaranteed, along with a regular exhibition of pop art posters, including work by usual suspects Robert Rauschenberg, Andy Warhol and more.

As an additional hoorah, they have a resident craft brewery, which produces Summerhall Pale Ale, brewed by Barney’s Beer.

Details

Address
Summerhall Place
Edinburgh
EH9 1PL
Transport:
Rail: Edinburgh Waverley

What’s on

Sauna Theatre

One of the most talked about shows at the 2026 Fringe isn’t a show at all, it’s a new venue, the Sauna Theatre. There is absolutely no euphemism at work in that name: it’s a big sauna that is also a theatre, designed by the people behind Paines Plough’s iconic Roundabout venue and occupying its space at Summerhall while it’s getting a refurb. Like the Roundabout, it can be packed up – it’s hoped there will be future stops in Manchester and London. With a capacity of 80, it’s built around three wooden tiers of seating, three massive sauna stoves, and the art of aufguss, a sauna ritual involving scented ice and elaborate towel flapping performed by ‘sauna masters’. This is Britain, so obviously you don’t go in naked: you need swimwear and a towel, both of which can be rented if you don’t have your own.  I won’t lie: I do not like saunas: I find the whole process of deliberately getting overly hot and sweaty faintly insane, and for that reason – and because I only saw two shows of its lively daily programme – I’m not going to do a traditional starred review here because one, I spent the whole time mildly bugging out, and two, I think judging some of this stuff out of five is a bit weird as to some extent I’d be rating the concept of saunas. The main thing you need to know is that while the shows have a 90-minute-plus running time, you get turfed out every 12 minutes or so to cool down in very cold showers and a plunge pool. This stops you dying of sauna, although it made for...
  • Immersive

As Far As We Know

As much a part of Summerhall experience as quirky old lecture theatres and constant uncertainly about the future, YESYESNONO return for the umpteenth time for this year’s Fringe and we’re certainly not complaining. As with most of their pieces, it’s a de facto solo vehicle for writer/performer Sam Ward, who will take us on a ‘hallucinogenic journey’ through the great unknowns of the world in an effort to understand why our world is going wrong.
  • Experimental

Adam Riches: The Captain

3 out of 5 stars
Adam Riches’ virtually method approach to comedy – in which he loses himself entirely in a character and accent – has taken a logical turn in the last couple of years, with him now making one-man-shows that sit in the theatre section of the Edinburgh Fringe programme. They’re still funny, but that’s not the main point of these detailed characted studies of real life figures.  Last year it was Jimmy, in which Riches took on the persona of Jimmy Connors, a complicated, pathologically competitive tennis star of the ’70s who’d fallen into obscurity before making an extraordinary comeback in 1991. There are definitely similarities to its follow-up, The Captain. Both concern quixotic-bordering-on-eccentric real-life figures, who were written off only to triumph… in a fairly qualified way. The captain in question is James Webb, the first man to swim the English Channel (in 1875), a feat that was all the more remarkable because despite this being the great Victorian age of exploration, almost nobody gave a hoot about what Webb was trying to do: swimming was only just starting to tentatively take off as lesiure activity and wouldn’t really become popular until the early 20th century. The really big difference between Riches’ two theatre shows is that we do not see The Captain from Webb’s point of view. Instead it’s that of his swimming coach Fred Beckwith, a kind of Ishmael to Webb’s Ahab. It’s a smart move, I think: despite the century separating Webb and Connors’ lives, I can see...
  • Comedy

Roleplay

As this new one-woman-show reminds us in more ways than one, success can be a double-edged sword.  Written and performed by relatively unknown Australian comic Hannah Reilly, Roleplay had sold out its Fringe run before the festival began and there’s an obvious reason why: its producer, Francesca Moody, has been responsible for a series of solo shows that have in recent years almost single handedly resurrected the festival’s reputation as the place to spot the stage and screen stars of tomorrow. Fleabag and Baby Reindeer are the biggies and 2024’s Weather Girl may well join the list when its A24-produced adaptation debuts on Netflix. So you can see why a new Moody-produced solo show staged in perpetually hip Summerhall is an easy sell, and has featured in just about every preview theatre list for the festival. Does it pile on too much pressure, though?  Roleplay does not hide its light under a bushel, beginning as it does with Reilly strutting into the room in a bra and panties, before whipping off the former and grinding away topless to thunderous strippercore beats. She’s Danni, the host of a little-listened to podcast that seems to exist to both celebrate and satirise sex positivity: ‘hey slut’, is how she greets her callers. That might have been the sum of her career, but a series of shady behind-the-scenes events leads to her being offered serious money by a big American corporation to make the show a mainstay of their empire. The catch is, she needs to show she can...
  • Drama

HAM

4 out of 5 stars
A version of Hamlet called HAM in which Hamlet is vegan and sad about the death of a pig as opposed to his father is the sort of show concept that gives people cold sweats about seeing theatre at the Edinburgh Fringe. But performance art duo Hotter Project is really onto something here with a show that casually sends up cringey activist theatre, while also being brilliantly accomplished, both in terms of the deft, funny way Mary Higgins and Ell Potter make use of Shakespeare’s own words (there is a big laugh for ‘oh that this too too solid flesh would melt’) but also in the way I haven’t wanted to eat any meat since I saw it. The loose idea is that Higgins and Potter have been driven to write a preposterous show because they think they can get funding for it. They do not seem convinced by the project and spend their whole time bickering away: Higgins is the precious, uptight vegan; Potter, by her own admission, was given the nickname ‘sausage queen’ after she ate 18 in a go once.  The duo’s fractious odd-couple absurdity and the fact that they treat the entire project as if they know it’s a stupid idea – they are also naked quite a lot, FYI – is nicely offset by how accomplished it actually all is: as well as some dazzling linguistic bits, there’s great stuff like the play within the play being reimagined as an S&M session between Higgins and a hapless member of the audience. Does it preach? Well maybe kind of, a bit, but certainly having confirmed meat eater Potter on...
  • Experimental

Bigfoot Ripped My Dog In Half I Saw It

Cult New York theatre duo Xhloe and Natasha are a rare example of a pair of obscure starving artists who’ve actually made it big at the Fringe under their own steam in 2022 (albeit they’re now very much produced by Soho Theatre). Their latest queer clowning-inflected shaggy dog story is ‘a Brechtian puppet show ripped in two about conspiracy, misdirection and seeing something with your own eyes’. It’s about two teenagers who amuse themselves sturring up their Appalacian town with fake Bigfoot sightings… but then things get alarmingly real when a neighbour’s dog is found ripped to pieces.
  • Experimental

Salty Brine: How Strange It Is (The Neutral Milk Hotel Show)

New York cabaret star Salty Brine has made his name with lavishly high concept shows that splice a classic album with – more often than not – a classic work of literature, for a set of covers, biographical rumination and flights of lyrical fancy. He has a vast arsenal of shows that will probably never get a UK airing, and he’s tended to bring over works that centre on a British album. Not this year, however: How Strange It Is (The Neutral Milk Hotel Show) does, of course, revolve around the cult ’90s indie band Neutral Milk Hotel’s peerless 1998 album In the Aeroplane Over the Sea, which will be spliced with musings on Anne Frank’s The Diary of a Young Girl – fair enough, as the record is in fact largely based upon it.
  • Musicals

Creepy Boys: Slugs/Nude Parade

Creepy Boys’ absurd existential clown show Slugs is allegedly about ‘nothing’, although in truth the duo of Sam Kruger and SE Grummett fail to stay on point spectacularly in a genitals-heavy affair that finds room for puppet Joni Mitchell, a techno concert, and a pantomime horse. The best kind of insane, if you’re in the market for that.  After success at last year’s Fringe it returns for the first half of this year’s festival; for the last week the duo will retain the same timeslot but debut a work-in-progress of a new show called Nude Parade. ‘Like a live theatre version of the game of Operation – but make it trans’, we’re told.  
  • Physical

Hannah Maxwell: Turn Your F*cking Phones Off

3 out of 5 stars
Chipper provocateur Hannah Maxwell’s new show leans heavily on an autobiographical account of her secretive work in ‘strategic communications’ during the pandemic era. Left-leaning, queer, and well-spoken, Maxwell sheepishly walks us through the time she allowed herself to be recruited to not MI5 but what amounts to a sort of clandestine advertising agency, her years of filling in Arts Council funding grants being deemed sufficient qualification by a uni mate who worked there. (To be clear she tell us what she can about it – we don’t find out loads about office life beyond the fact it had a spectacular array of breakfast cereals). Her rise and fall at the agency makes for a drolly gripping story, her fish-out-of water experience (although to be clear, she was never a spy) ending when she freaked out after her identity came close to being compromised. This of course all resonates nicely with the show’s wider themes of the way in which big tech and authoritarian regimes manipulate our lives via the data they keep on us, via many routes but most especially our phones. It’s all entertainingly punctuated by a series of jolly diversionary tasks and karaoke numbers Maxwell sets for us as she switches between a series of daft Bond-themed costumes (tux, Blofeld suit, white bikini). Her rise and fall at a secret agency makes for a drolly gripping story It’s a well-meaning and interesting show, amusingly delivered, but I felt confused by some of its tonal shifts and logical leaps:...
  • Experimental

The Distance

4 out of 5 stars
Ben Norris has had a decent career as a poet, actor and writer: notably, he’s played Ben Archer in The Archers since 2018. But in The Distance he looks back to his childhood and deftly sidesteps his future success for a poignant, formally thrilling work that tells an almost true story exquisitely.  As we enter, Norris is jogging at a treadmill, surrounded by a large metal frame. Throughout the show he will alternate running on the treadmill with clambering on the bars, often hanging off them at alarming angles as he tells his tale.  Or, not quite his tale. Although based on true events, it’s a fictionalised version, with a protagonist named Chris, not Ben. As a young teenager in Nottingham, Chris did extraordinarily well in cross county at school, leading to his joining the county’s under-15s running team, a path that would lead him – little by little – to selection by Team GB. Norris’ poetic monologue doesn’t really phrase all this as a story of exuberant youthful triumph, or even obsession, exactly. It’s more that as a young man, he came to an understanding of what he was for. As his body changed shape – lean and wiry – and he became laser focussed on things like the expensive running shoes he needed to replace at regulated intervals, his life progressed methodically, in a single, clear direction. A relationship with a fellow young athlete is briefly touched upon – she asks him about whether he’s happy and even that doesn”t sound quite right – he simply belongs, doing...
  • Drama
Advertising
Latest news