/ Don't hate the media, become the media.Jello Biafra

What was your previous Fringe experience like, and what makes bringing a show to Edinburgh Fringe so important?

 

Natalia: The Fringe is an evolving environment, much like our show. It’s a space where artists push boundaries, set new standards, and spark vital conversations. For us, it’s a way to reflect the current moment, be it cultural, technological, or emotional. Audiences at the Fringe are curious, open, and eager for new experiences. Coming from New York, as spoiled as we are by the rich theatre scene, it can sometimes feel predictable, Fringe always feels like a breath of fresh air. Raw, brilliant, innovative work thrives here, and I always leave inspired.

 

Joyce: I agree with Natalia, experimentation is what we as individuals and as a group, love to do even in our own work. The experience of producing at Edinburgh does not end within producing a show, but also extends to meeting, networking and talking to other artists that bring shows or are in Edinburgh to experience the festival.

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Can you tell me a little bit about The Waiting Room? What was the inspiration behind the show?

 

Natalia: The Waiting Room explores transitional spaces— both physical and psychological — that are often overlooked but full of potential. The idea was born during the pandemic, when the world itself felt like a waiting room. There was discomfort, yes, but also this strange stillness and opportunity for reflection.

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In this version, we explore various future scenarios, shaped by your choices during the experience. Your future self serves as your guide — voiced by what sounds like an AI-generated presence — which adds another intriguing layer.

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Did you have any apprehensions about creating a show that is AI-powered?

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Natalia: I had concerns early on, but my curiosity was stronger. And I wanted to approach this responsibly — with clear values of how and for what I use AI. I wanted to explore how AI can be used not just to replicate or replace, but to create new forms of creative expression, to connect our audiences, and give voices and issues that otherwise won't have this opportunity. That said, I remain aware of the risks and the need for continued critical thinking around this tech use.

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The audience reactions to the show have been amazing. Did you imagine you’d get this type of response?

 

Natalia: Last year we were pleasantly surprised by how much interest and enthusiasm the show generated. We received a wide spectrum of feedback, which I truly appreciate.

What I didn’t expect this year was how emotionally moved people would be — especially by the AI-generated elements. My favourite responses are the ones that say something like, “This is a meaningful use of AI.” That’s our goal: to create a human-centred experience powered by technology — not just a showcase of what AI can do, but something that connects. And it’s great to hear the feedback that tells us we made that impact.

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Joyce: The reactions. is what I personally love. I still remember our very first play-test 2 years ago when I cried because I was touched by the customised story about my childhood with my father. Whenever we do the show, my favourite thing to do is to watch the facial expressions and the body language of the audience as they listen to their stories.

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What have been some of the challenges you’ve faced bringing The Waiting Room to the Fringe?

 

Natalia: Finances come to mind first. Like many artists, we take a risk bringing work to Fringe it’s a major investment that doesn’t always pay off financially, but it does in growth, connection, and creative momentum. On top of production and travel costs, innovation with emerging tech requires real support from funders, and from collaborators willing to work within tight limitations. It’s tough to see how the work could evolve and not have the budget to make it happen, but we’ve learned to adapt, reinvent, and keep pushing forward.

 

Joyce: Funding has been a challenge. We have been applying for grants across the board and I cannot tell you how many rejection letters we have received. As much as there were venues who wanted us to tour our experience with them within the last year after the fringe, we still needed finances for other operational expenses. We are mostly self-funding this. We have a lot of plans for this project that has a huge potential and we hope we can accomplish those goals through our Edfringe run this year.

 

If you could describe The Waiting Room in five words, what would they be? 

 

Natalia: Personalised. Journey. Reflection. Choices. Future.

 

Joyce: Innovative, Experiential, Impactful, Community, Contemplative

 

Where did your passion for immersive theatre come from?

 

Natalia: It found me at the right time. I started in film, then trained in directing and playwriting. Live theatre captivated me with its immediacy — its “limitations” that often turn into strengths. Immersive and interactive theatre felt like an exciting field that offered agency to the audience, something that still hasn’t been fully explored in all its aspects. Coming from a generation raised on video games and interactive media, I was naturally drawn to this kind of work. And I was immediately flooded with ideas about the kinds of stories I could tell in that realm. I realised my passion isn’t tied to one particular form, but to storytelling that pushes boundaries— and finding the right format for the right story, even if it’s unconventional, is what excites me most.

 

Joyce: I started getting involved in immersive theatre in 2012 within the performing arts community. I have interests in a lot of things and I am equally passionate about all of them. The one element that ties all my interests together is storytelling. I grew up competing in dance, I am a trained musician and my involvement in theatre and film came to me in my adulthood. I always want other people to feel and understand what I am conveying. I started with experimental theatre then interactive theatre within the immersive space. Although I am a performer, I like the idea of having the audience get into the story of any project I create. Partnering with Natalia was the right step for me. I met her when I was producing a short film 10 or so years ago and now here we are! Creating immersive experiences together.

 

Since The Waiting Room premiered, what have been the most valuable lessons you’ve taken from the experience?

 

Natalia: One of the biggest lessons has been letting go of the need to be universally accepted— whether as an evolving form of theatre or as a valid artistic approach. Not everyone will understand our intentions or challenges, and that’s okay. We’ve heard everything from “AI doesn’t belong in theatre” to assumptions that our show is fully generated, or that we’ve handed our creativity over to machines— all from people who haven’t actually seen the work.

 

I’ve learned to stop trying to explain or change minds. We welcome feedback and grow from it. If our show shifts someone’s perception of AI — great. If not, they have their reasons, or they’re just not ready yet.

 

Joyce: This must be cliche but creating anything always has its challenges and we “cannot please everybody”. I am a performer and sometimes I have to remind myself that each show or each genre has its own audience and if we happen to encounter an audience that does not appreciate what we do, it’s fine. The goal is to keep going. I had to keep reminding myself of our goal and why we are doing this.