In just two months’ time, we hope you’ll be sitting at a venue with us, experiencing one of these shows. Our latest artists reveal is a perfect example of how to dive into Gothenburg Fringe, seeing both established Fringe stars and emerging talents on 28 August until 6 September.
Ticket sales are now well underway and for the first time, we’re selling Festival Passes, bundles of 3, 6 and 10-show passes at brilliant discounts. There is limited availability, so get your hands on them here and take a chance on some of the shows listed below.
Throughout June and July, we’ll be giving you an insight into all of the shows coming your way at this year’s festival. With artists from 28 countries performing shows across the city in a plethora of genres, we’re thrilled with this year’s lineup with you. Here’s Artist reveal #6 of 10!
Delusions and Grandeur
by Karen Hall (USA)
”As irreverent as it is poignant” (Australian Arts Review). Genre-blurring jester and cellist Karen Hall peels back the layers of formality leaving you with only the humanity and insanity of the artist behind the instrument. And yourself.
Featuring Suite Number One in G Major by JS Bach and personal comedic pieces crafted in idiot classes, Karen fuses in a healthy dose of pathos tackling identity, expectations and success through the eyes of a fool.
Winner: FringeReview.co.uk’s Edinburgh Fringe 2025 Outstanding Theatre Award.
BuryaK
by Ida Osten and Sofiia Butiaga (Austria/Ukraine)
Beetroot. BuryaK. The unsung hero of Eastern European cuisine. Tastes like home.
This duet navigates the uneasy terrain between autonomy and oppression. What binds us and how we can move forward? As two women growing up in two different countries – Ukraine and Austria – we are still dependent on each other, no matter if we want it or not. Chains link our bodies, both as a metaphor and material. Did we fasten them ourselves or were they placed on us?
We are all creatures of habit. Carved slowly by repetition, rhythm, silence.
In the ritual of the renown dish ‘Borscht’ we see not just sustenance, but memory. We become each other’s mirror and a refugee.
They feed and wash one another. They nourish each other.
The Drake Equation
by Chris Dupuis/RTC (Canada)
In 1975, an artist boards a sailboat and disappears. In 2020, a poet walks out his front door, never to be seen again. And in 2022 an actor steps onto a plane hoping it will crash.
“The Drake Equation” is a lecture performance about artists who die in the middle of making projects, leaving behind an unfinished work. The show weaves through themes of alien life, suicide, mid-60s pop music, mid-aughts hip-hop, air travel, boating accidents, the planet Mars, and the persistent question of whether art is worth dying for.
Dubbed “extremely grim but funny” by one reviewer, the show serves as a follow up to “Dead People Are Liking Things On Facebook,” presented at Gothenburg Fringe Festival in 2022.
Four Strings and a Voice
by Maria Andin (Sweden)
With a clear voice together with a soft sound, this act is something rare. Maria E Andin is telling stories with only the voice and the electric bass as a means. It is expressive. It is minimalistic, but still big.
During this concert, the bass moves from low and captivating rhythms to floating light tones. You will hear the instrument in a new manner. Not in the background, but in the front. The bass playing, together with a dancing voice really catches your attention despite its small format.
In this project Maria’s earlier experiences as a jazz singer and a groovy blues bassist are combined. The sound is available for many, but still performed in a sophisticated and eclectic way. And her jazz inspired attitude of welcoming the present, makes every performance unique.
Who will love this show?
People who like to sit down, really listen to the music and relax with it. People who like the sound of pop music but are open to more free sound inspired by jazz and blues. Anyone could recognize themselves in the lyrics but especially women who find comfort in music as a part of trying to stand up for yourself.
MENopause, matriarchy and other matters
by Åsa Hedlund (Sweden)
Is menopause for real? Or is it made up by the patriarchy, hence starting with “men”? Does climacteria exist? Why? A work-in-progress for two actors on a hot topic which plays on perspectives.
By Rosenknopp Produktion, directed by Åsa Hedlund, performed by Clare O’Brien and Åke Andersson. A short performance on hot topics, like menopause, grammar and the problems with false friends.
Tea at 6 O’Clock
by Kinetic Orchestra (Finland)
Tea at Six O’Clock is a whimsical contemporary dance performance about tea parties, imagination, and the playful chaos of growing up. Set inside an endlessly repeating tea time where clocks stand still and anything is possible, the work blends acrobatic partnering and absurd humour into a gravity-defying world of floating tables, transforming creatures, and mischievous surprises. Through Kinetic Orchestra’s signature highly physical, non-verbal and theatrical absurdity, the performance invites audiences of all ages to rediscover the childlike wonder hidden within everyday life.
The kettle is boiling, the dishes are in disarray, and the teacups are ready to be sipped. Everything seems completely out of place — and yet, Tea Time is about to begin. A tea party where anything can happen, where the clock never moves past six, and where everyone waits eagerly for the next pour.
Tea at Six O’Clock is a strange, beautiful and inescapable process of growing up. Blending imagination, absurdity, and gravity-defying choreography, the work invites audiences of all ages into a world where play refuses to disappear with adulthood. Here, time stands still: the clock always strikes six, tea is endlessly served, and the party begins again and again.
Inside this alternate reality, tables float, kettles whistle, and dancers transform into curious creatures. Rooms become adventures, furniture becomes playgrounds, and ordinary objects assume lives of their own. As the tea drinkers and tableware continuously rearrange themselves, this seemingly dignified gathering slowly unravels into something increasingly wild, playful, and delightfully unpredictable — reminding us of the childlike imagination still hidden inside everyday life.
Through Kinetic Orchestra’s signature non-verbal, acrobatic partnering and absurd theatrical commentary merge with humour and finesse, creating a mind-bending world filled with surprise, chaos, and wonder.
