Would you believe our guvnor once attended dance school?
I know. I had to sit down with a brew when I found out as well.
Apparently, before he was running Theatre Village and making me carry half the Fringe in my satchel, Andrew was off learning his steps. I’m not saying he was destined for Strictly, but there we are. Everybody’s got a past.
So I thought it would be best if I put on some tap shoes, gave the satchel a polish, and took a wander throug Sometimes with Edinburgh Fringe it is in the rhythm. Sometimes it is in a stomp, a spin, a leap, a look, or someone doing something with their knees that would put me in A&E.
Let’s start with flamenco, because frankly, if you’re going to begin anywhere, you may as well begin with passion, guitar and a bit of dramatic footwork.
2Flamenco – TUFLAMENCO
First out of the satchel is 2Flamenco – TUFLAMENCO, and this one sounds like a proper mood-lifter.
Jara Perez and Danielo Olivera return after three years of strong Fringe reception with a fresh reinvention of their acclaimed show. The idea is to preserve the essence of the piece while bringing something new to it: passion, fun, love for the art, and that glorious flamenco mix of powerful dance, soulful singing and masterful guitar.
It promises an intimate journey through flamenco’s origins and future, with elegance, humour and spontaneous complicity. That phrase alone makes me feel like I should be wearing better earrings.
The show is produced by TuFlamenco and aims to transport audiences straight to Cádiz in Andalucía, with plenty of duende and, naturally, a hearty y olé.
It is being held at the Cellar Bar at Argyle Cellar Bar, described as a hidden gem with a speakeasy-style feel and great acoustics. I do like a cellar bar. Very good for atmosphere. Very bad if you’ve got a satchel full of flyers and no upper body strength.
Grace’s satchel says: If you want heat, rhythm, intimacy and a little taste of Andalucía without leaving Edinburgh, this sounds like a fiery place to start.
Afronauts
Next up is Afronauts, and I’ll be honest, the moment I read “Zambia”, “space race” and “rocket made of aluminium, ambition and audacity”, I was in.
Presented by Underbelly, Circus Zambia and Wake the Beast, Afronauts is an all-ages collision of circus, theatre and space adventure.
The story takes us back to 1964, when the world’s superpowers were caught up in the space race. But then came an unlikely contender: Zambia. Visionary Edward Mukuka Nkoloso dreamed of sending Africa’s first astronauts into the cosmos. His crew? A young girl, two cats and a missionary. His rocket? Not exactly NASA-approved, but certainly not lacking ambition.
Wake The Beast and Circus Zambia bring this extraordinary true story to life with acrobatics, theatrical spectacle and a big beating heart. It sounds like the sort of show that might make you laugh, gasp and then quietly believe humans are a bit more wonderful than the news usually suggests.
Grace’s satchel says: One for anyone who likes their Fringe with imagination, height, history and the sort of courage that looks completely impossible until someone has a go anyway.
Bigger – France Showcase
Now then, I’d better brush up on my French skills alongside my dancing for this one.
Bigger, from Compagnie CHAABANE, is part of the France Showcase and features dancer and choreographer Sofiane Chalal.
On stage, Chalal brings an unconventional body that defies the usual codes of dance and seems to bend the very laws of physics. I enjoy this description because most days I bend the laws of physics just trying to get up after sitting too long with a cup of tea.
The piece explores the body as both ally and adversary, and the difficult space between how we see ourselves and how others see us. That is a powerful idea, and one that feels very human. Dance can be brilliant at getting underneath those things without spelling them out.
Blending the power of hip hop with the fragility of mime, Bigger sounds deeply personal but also universal. It asks what it means to live inside a body that other people think they understand before you’ve even opened your mouth.
Grace’s satchel says: This sounds bold, sensitive and physically striking. One for audiences who like dance with emotional weight and something proper to chew over afterwards.
Ceilidhs
Now this next one has a proper community feel, and I do love the idea of the Fringe not just being something you sit and watch, but something you get swept into.
Edinburgh Ceilidhs offers an authentic Scottish dancing experience in the historic St Cuthbert’s Church, with dance teacher and caller Ken Gourlay and a ceilidh band.
All the dances are walked through and called, so you do not need to turn up already knowing what you’re doing. Which is a relief, because my current dancing skill level is “tries hard at weddings and hopes nobody films it”.
The event promises good exercise, great fun and a joyful atmosphere. Alcoholic and soft drinks are available, and there is a five-minute warm-up before it all kicks off. No high heels are permitted in the dance hall, which feels entirely sensible unless you want your Fringe memories to include an ankle support and a taxi to minor injuries.
Photos and videos are allowed, but if you need to use your phone for anything else, you’re asked to do that outside the dance hall. Quite right too. You can doom-scroll later. First, spin about with strangers in a church.
The location is the Main Sanctuary at St Cuthbert’s Church, right in the heart of Edinburgh on Lothian Road, near Princes Street and close to public transport.
Grace’s satchel says: If you want something social, energetic and properly Scottish, this sounds like a grand night out. Take comfy shoes and leave your dignity at the door in the best possible way.
Celtic Collective
This one I love the sound of.
Celtic Collective brings together the National Youth Dance Companies of Scotland and Wales for a night of bold choreography and cultural connection.
Presented by YDance and National Youth Arts Wales, the programme celebrates the power of dance by blending distinct cultural influences with contemporary movement. It is a dynamic double bill of new commissions, featuring vibrant ensemble work, intimate duets and striking costumes.
What really catches me here is the sense of young performers pushing their technique, artistry and imagination to new heights. There is something exciting about seeing emerging talent before the world properly catches up with them.
The show is described as a celebration of connection, with infectious energy, fierce precision and moments of breathtaking tenderness. That is exactly the sort of Fringe sentence that makes me stop mid-sandwich and go, “Oh, hello.”
Grace’s satchel says: A strong choice if you want to see rising stars, fresh choreography and what the future of UK dance might look like.
Common Ground
Common Ground brings together two in-house companies from Dance Base: PRIME, for over-60s, and Lothian Youth Dance Company, for 14 to 21-year-olds.
I really like this concept. Different generations sharing the same stage, exploring the pressures we all face. That already feels like something with a lot of heart in it.
The double bill features new pieces created over the past year by PRIME’s Artistic Director Kally Lloyd-Jones, alongside work from guest choreographers Malcolm Sutherland, Tough Boys Collective and Rosie Mackley.
There’s something quietly powerful about dance that crosses ages like this. It reminds you that movement does not belong to one generation, one body type or one stage of life. Everyone carries pressure. Everyone carries stories. Everyone has their own way of moving through the world.
Grace’s satchel says: This sounds thoughtful, generous and community-minded. One for anyone who likes dance with real people, real experience and a bit of emotional glue holding it all together.
Ham Sandwiches and Discipline
Now I’ll admit it: the ham sandwiches drew me in.
I’m only human. And a tired postie.
Ham Sandwiches and Discipline, from NAF Dance, fuses the passionate drive of the GAA, Ireland’s national sports, with dance, disco and comedy.
From mammies screaming on the sidelines to manic pundits, stadium crisp-eating and teenage club socials, the show dives into what makes these sports such a national tradition. It promises a hive of Irishness, campiness and humour, while also offering a glimpse of what growing up in Ireland can be like and how sport can shape national identity.
After touring nationally and internationally, this infectiously joyous theatrical explosion makes its UK premiere at the Fringe. It has also been described as “a must-see” by Irish Times, RTÉ Culture and District Magazine.
I enjoy the sound of this because it feels specific. It is not just “dance with a theme”. It is sport, memory, community, chaos, identity and probably someone eating crisps with real commitment.
Grace’s satchel says: For audiences who like their dance with comedy, culture and a big communal heartbeat. Also, the title is excellent. I don’t make the rules.
Snow
Next, we have Snow from Sacramento Contemporary Dance Theatre, coming from California, USA.
This is a bold reimagining of Snow White, but do not expect cosy fairytale cottage vibes and a cheerful singalong. This version is described as a haunting exploration of beauty and control, using striking, expressive choreography by Jacob Gutiérrez-Montoya.
At the centre is a living mirror, with nostalgia and darkness blending together to question perception, power and the cost of perfection.
Now that sounds properly intriguing. Snow White is one of those stories everyone thinks they know, but there is a lot lurking underneath it: beauty, envy, youth, control, image, danger, obsession. Put that through contemporary dance and suddenly you’ve got something that could be visually gorgeous and emotionally sharp.
Grace’s satchel says: One for fairytale lovers who prefer their stories with shadows at the edges and a mirror that might have a few uncomfortable truths to tell.
Strange Tales from Liaozhai
Finally, we have Strange Tales from Liaozhai, from Yuerge Dance Theatre and Shanghai International Dance Center Theater.
This is a contemporary dance-theatre adaptation of Strange Tales From a Chinese Studio, Pu Songling’s celebrated 17th-century Chinese ghost-story collection.
Now, I don’t know about you, but “17th-century Chinese ghost stories reimagined through haunting choreography” is exactly the sort of thing that makes me want to sit up straight and put my biscuit down.
The show unfolds in a dreamlike nocturnal world where humans, foxes and spirits intertwine. Desire swells, collisions unfold, and the boundaries between reality and fantasy begin to dissolve.
Through visual storytelling, surreal theatrical imagery and psychologically layered choreography, the production explores greed, violence, obsession and the shifting line between the human and the supernatural.
It sounds eerie, elegant and possibly the sort of thing that follows you home a bit.
Grace’s satchel says: If you like your dance atmospheric, ghostly and rich with myth, this could be one of the most visually fascinating picks of the Fringe.
What I love about this little dance wander is the sheer range of it.
You’ve got flamenco heat, Zambian space dreams, French hip hop and mime, Scottish ceilidh joy, Celtic contemporary dance, intergenerational movement, Irish sport and disco, dark fairytale reinvention, and Chinese ghost stories.
That is the Fringe at its best, really. Not one thing. Not one mood. Not one type of audience. A whole city full of people trying to tell stories in every way the human body can manage.
Some shows will make you want to clap along. Some might make you think about your own body differently. Some might make you feel like you’ve been somewhere far away without leaving Edinburgh. Some might just make you grateful you wore comfortable shoes.
As for me, I’ll be here with the satchel, the tap shoes and a suspiciously strong interest in anything that mentions ham sandwiches.
And if the guvnor ever gives us a demonstration of his old dance school moves, don’t worry.
I’ll report back immediately.
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