
Plan a day out with your kids with the perfect Edinburgh Fringe Festival guide
Navigating the Edinburgh Festival Fringe with children in tow can seem like a challenge, but with a little planning, it can be a memorable experience for the whole family.
As thousands prepare to descend on the capital for the world's largest arts festival, many parents are already weighing up how to juggle shows, food and sightseeing without anyone getting overwhelmed. Here's a guide to help families make the most of their Fringe visit, Edinburgh Live reports.
Where to Eat
Finding somewhere to refuel can be one of the trickiest parts of the Fringe, especially with hungry kids and crowded venues. While the city centre eateries tend to get packed, there are quieter options if you're willing to take a short stroll.
The food trucks at George Square offer a variety of meals on the go, and nearby Meadows Park is the perfect spot for a peaceful break.
Holyrood Park also offers open space for a picnic, while those venturing slightly further afield can find calm at Inverleith Park. Stockbridge, a short walk from there, is home to relaxed dining options like Civerinos and Café Andaluz.
For indoor dining, Loudons near the Canongate serves family-friendly brunch and lunch in a bright, spacious setting.
The Scran and Scallie in Stockbridge has a well-reviewed lunch menu and even a children's playroom, ideal for giving parents a much-needed breather. In Haymarket, Pomo Pizzeria delivers classic Italian dishes with plenty of kid-friendly pizza options.
Check out the map below for the quiet spots in the city.
Choosing Shows
With thousands of performances on offer, choosing what to see can feel overwhelming. But part of the magic of the Fringe is taking a chance, not every show will be a hit, and that's all part of the experience.
Children should be given the chance to pick a few shows themselves. Most performances run under an hour, which keeps things manageable even if a particular act doesn't capture everyone's attention.
And families shouldn't feel confined to purely children's shows, many family-friendly productions are suitable for all ages.
The Circus Hub on the Meadows is always a safe bet for families, offering a mix of acrobatics, comedy and spectacle.
Other recommended picks this year include Monsterrrr! with Trygve Wakenshaw at Assembly George Square, You're an Instrument! at Pleasance Courtyard, and The Unlikely Friendship of Feather Boy and Tentacle Girl at Assembly Roxy.
It's best to plan for two to three shows in one day, leaving plenty of time for breaks and travel between venues. Many shows offer family ticket options, which can be found on the Fringe's official website.
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Getting Around
Travelling between venues can take longer than expected, especially with little legs to consider. Parents are advised to avoid booking shows back-to-back and to check venue names carefully, as several locations have similar titles but are miles apart.
Fringe venues can be spread across the city, so factor in time for toilets, snacks, and the occasional detour. A venue map is available on the official Fringe website to help plan efficient routes.
Sightseeing with the Family
For first-time visitors, sightseeing can add another layer to the experience, but be warned, popular attractions fill up fast and the crowds can be dense.
If families are planning to visit places like Camera Obscura or Dynamic Earth, it's best to book in advance and allow extra time to get there. These spots can provide a fun break between shows and give children a taste of Edinburgh beyond the stage.
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Metro
an hour ago
- Metro
'I am orgasming on stage every night for this very good reason'
If art is digging into the human condition, then Betty Grumble has arrived at the core with a pickaxe. The eco-sexual sex clown (more on this later) will be taking her most risky show yet to this year's Edinburgh Fringe in Betty Grumble's Enemies of Grooviness Eat Sh!t. The show is a flowing blend of clownery, silliness, fleshiness, poetry and in its essence is deeply queer – born from drag, burlesque, strip-tease and underground LGBT scenes. Betty Grumble is both profane and profound – depending on who you ask. Her show is also deeply personal for Emma Maye Gibson, the Australian performance artist behind Grumble, she explains in a chat with Metro ahead of her Fringe run. Gibson's alter-ego Grumble – a 'war-mask' against patriarchy and love letter to living – will be masturbating and orgasming on stage every night. Emma Gibson explains: 'If you haven't encountered a sex clown before, you might imagine somebody who uses their body to remind us to love ourselves.' Audience members will be encouraged to look at a content brochure pre-show, which will warn of 'sex scenes' and 'joyfully wetter full-frontal nudity'. The orgasm is a release of all Gibson's personal grief: of losing her best friend, drag artist Candy Royal, in 2018, and the grief of injustice in her horrifying domestic violence ordeal. Gibson has aptly named the moment the 'Grief Cum'. 'I did it last night, and I hadn't actually had an orgasm in my personal life in about a little while, maybe a week and a half,' she says. 'The first time I ever did the show I was so nervous… I didn't fake it, I just didn't have a kind of clench-release orgasm that some of us have. It didn't happen for me. 'So the next night, I said to myself, 'You have to, let's experience this. Let's really go for it.' So I allowed myself to kind of really be seen in all of the contortion and twists that can happen as you're climbing in that way. 'And I did. Then I've had a 'real orgasm' – a big orgasm – every time I've done it.' Some nights, reaching orgasm takes Gibson longer if she's nervous or feeling uncomfortable. But she's always healing. 'I feel genuinely restored after the show. I feel good. It feels liberating,' she says. 'If it's feeling particularly difficult, I'll imagine myself being more and more non-human, and that's where ecosexuality will help me.' Emma Gibson explains: 'Ecosexuality is a sexual identity, where people reframe their relationship with the Earth from mother to lover. 'For example, breath work would be very eco-sexual. Swimming is very eco-sexual. It's not necessarily about like, literally f**king a tree. Though people can do that. It's called dendrophilia. 'It's about coming into erotic and sensual relationships with nature, with fire, with our perspiration. 'Our bodies don't begin and end. We're as the world. We are of nature. Yeah, that's what ecosexuality is to me. How do you express eco-sexuality? 'Whenever I feel myself hardening in particular ways to the world with anxiety and stress, the eco-sexual mindset can help me just expand and breathe out. 'I can zoom into the gradient of the blade of grass and think: 'How am I bringing pleasure and love to this absolutely extraordinary dimension we find ourselves in and all of the living force we're sharing?'' It's an undeniably vulnerable act. But Betty Grumble isn't just about radical rumination: she's also punk. 'Grumble has always helped me celebrate my body, but also criticise the ways in which it has been hurt by patriarchy,' Gibson says. 'In 2018, I experienced domestic violence in a relationship and I then court justice through the court system. It was the same year that my best friend died, and those two griefs kind of composted me,' she says. 'So what I do is share that compost on stage.' It goes without saying that the Grief Cum is also a march against shame – and the male gaze. 'I've been really interested in shame, and where shame lives in the body, and the power of pleasure as a tonic for that,' Gibson says. 'For women, especially – and I use that term really expansively – our bodies have been the site of so much violation, so the orgasm, the Grief Cum and sharing my body that way is a deliberate act of un-shaming. 'Even though I'm talking about my own story, what I'm actually talking about is another way of being with pain and grief and coming to love our bodies despite the wounds that we have.' While all this is a lovely idea, reality is rearing its cynical head. Yes, queer spaces are magic – but isn't Gibson worried about a more mainstream and possibly less respectful audience at the Edinburgh Fringe? Many of them may not be there for Betty Grumble, but for an eye-catching leaflet, or a night on the town. Some will likely scoff at and resist her art. 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Metro
3 hours ago
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Tim Minchin explains the ‘pretentious' reason he turned down hosting chat show
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'I was 29 at that stage and really did think I wasn't very rock n roll or grunge or what people wanted and thought I'd just be a poor songwriter, but literally the next year everything changed,' he tells Metro on the day his latest album TimMinchinTimeMachine is released (the album is a curated anthology of previously unreleased material). 'It's only got more and more unbelievable with the things I've been able to do since. I was really struggling throughout my 20s to get any traction and couldn't get an agent or record deal,' he said. It was Tim's 2005 comedy show Darkside that saw him finally capture the attention of the right people. He went on to debut it at the Edinburgh Festival Fringe, where he received the Perrier Comedy Award for best newcomer. 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More than a decade on and having just completed a tour of the UK to mark 20 years since his career took off, I ask what advice he'd now give to himself at the same age. Being incredibly candid, he explains: 'It's hard to imagine what advice I'd give myself. I worked so hard because I never thought I had the right to be an artist. My folks didn't mind that I wanted to be a muso…but no-one was ever telling me I was special. 'No one ever thought I was particularly talented…I never got the roles in the school plays. I just thought I had to work hard. I wouldn't want to give myself any advice that lets young me know that it works out ok because I might not have put my head down. 'The central lesson in the speech was to just be really, really good at what's in front of you and dedicate yourself to that and let the future take hold. That was something I did intuitively and now I look back and understand it to be a way of thinking. 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Scotsman
3 hours ago
- Scotsman
Multinational acrobatic troupe Copenhagen Collective on their dazzling Fringe debut
With a 17-strong cast from 14 different countries, communication is key for the energised members of the self-described 'Chaos Collective'. By Susan Mansfield Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... 'How many acrobats can you fit around a table?' quips someone as five members of Copenhagen Collective fit themselves into a nook in a popular cafe in Galway. The answer comes back fast: 'Always one more!' The 17-strong company are performing their show The Genesis at the Galway International Arts Festival on a tour that has already taken them to nine countries in their first year. By the time you read this, they'll be in Edinburgh making their Fringe debut. Advertisement Hide Ad Advertisement Hide Ad To form a new acrobatics company from scratch on this scale, with a completely international cast, is almost unprecedented. The 17 performers come from 14 countries. Just over a year after their first performance, they hope the Fringe will be the right platform to take their work to another level. Copenhagen Collective | David Poznic Photography At the cafe table, the bond between them is already clear. 'From the get-go, I had a sense that something really special and fairly unique was happening,' says David Ullrich from Germany. 'I think it's something that shines in the project and makes each and every one of us fall in love with it.' In was in late 2023 that invitations started to circulate in the acrobatics world to attend a series of 'jams' (informal gatherings of performers) in Copenhagen. The performers didn't know it at the time, but the jams were auditions hosted by circus school tutor Søren Flor, who had received backing from millionaire software developer and philanthropist Joachim Ante to fund a dream project: a new acrobatics company which would be run by its members. Flor was selecting not only the best acrobats but those who would be most committed to realising the idea of the collective. Make sure you keep up to date with Arts and Culture news from across Scotland by signing up to our free newsletter here. Advertisement Hide Ad Advertisement Hide Ad 'Then pretty quickly madness ensued,' says Ullrich. No wonder the company refer to themselves as the Chaos Collective. 'The scale and the scope of this project beat everything I had experienced before. It's almost a social experiment that we're doing: how do you get 20 or 25 total strangers together and collaborate and make art?' Within a matter of weeks, the new company members had relocated from around the world – Canada, France, Germany, Argentina, Uruguay – to live and work together in a former aircraft hanger outside Copenhagen. They had just three intense months to make a show. It became a tribe, a family. 'Or you could say 'cult'!' says Marilou Verschelden, from Montreal, Canada, to widespread laughter. The first steps were to learn to work together, to work through the differences in the systems in which they had trained, learn to trust one another, and master the dexterity needed when 17 people are moving fast in a confined space. 'The communication was hard,' says Verschelden. 'It was fascinating because when we were working on the mat I could always communicate with people. But when we were eating together, someone would say one sentence, and I would be: 'What the hell did she say?'' Soon they were creating work and devising sequences. Perhaps unsurprisingly, the themes of cooperation and collaboration emerged powerfully. 'I think the theme of the show is getting past our differences,' says Ronan Jenkinson, from Northern Ireland. 'We've not saying we're perfect and we've figured it out by any means, but at the end of the day, what really matters? Is it our differences, or is that going to get in the way of us achieving new things and pushing what is possible in the world?' Advertisement Hide Ad Advertisement Hide Ad When director/choreographers Patrick King and Johan King Silverhult came in to help develop the show, they brought those themes to the fore. Ullrich says: 'I think they realised at some point that it would feel almost wrong to put a narrative that isn't ours on top of that. There are metaphors about individuals coming together, getting to know each other, celebrating collaboration and the strength that comes from it. This is a very authentic thing for us because this is our story.' Copenhagen Collective at the La Strada festival in Austria | Contributed Copenhagen Collective tours with a manager, a technician and often a childminder, to look after the two children of founding members Sónia Cristina and Alfred Hall Kriegbaum, Zoe, three, and one-year-old Marley. 'The children really make it a family,' says Jenkinson. 'Everyone has an eye on them. Yeah, it does get difficult when a child is running around and you're trying to mark a rehearsal for something that you're going to do in three days, but it's also something we're able to tolerate and understand.' Nicolás Gonzalez (Nico) from Chile says: 'It's amazing seeing them grow. When I joined the company, Zoe was just beginning to speak, now she calls 'Nico!' which I come in the room and wants me to play with her. I am really far away from my family and I really appreciate having this connection.' Meanwhile on the mat the company is learning about the benefits of working together long-term. Nico is what is known as a flyer, one of the lightest members of the company who is often at the top of a tower. 'When you can put your confidence and your body into these hands, I think you can go beyond your limits,' he says. 'You think your limit is here, but then you realise your limit is over there. In two years I have done a lot of things I never imagined before.' Advertisement Hide Ad Advertisement Hide Ad David says: 'Now that the technique clicks and the bodies work well together, I'm able to look past my personal horizon. I have 16 colleagues who are very good at what they do, somebody will always know how to help me, and often there is something I can help somebody with. We are so many that we can keep pushing our technique and keep getting better. The skill level keeps rising.' Communication is still a challenge. 'This is the hardest part of the collective,' says Verschelden. 'But we have to remind ourselves that our best asset is our differences. The mix of cultures is really what Copenhagen Collective is. You could have a show with five people from the same country, but you've probably already seen that show.' The future is still being dreamed about around the cafe table: on the one hand the kind of technical development long-term collaboration makes possible, on the other, the potential for year-round work, a stable financial base. 'We've had the opportunity to start something at almost the top end of the scale,' says Jenkinson. 'We don't know what it looks like to develop that. It's up to us to work that out. That's why the show's called The Genesis. It's really just the beginning.'