In our ongoing Edinburgh Fringe 2026 interview series, we are speaking to artists and creatives who are bringing their shows to the Scottish capital this summer.
In this interview, we speak with Kitty Falcon about her show Furniture Boys.
 |
| Photo by Michael Julings |
What can you tell me about your show?
Sitting (In Silence) is my debut play, exploring a complicated father-daughter relationship set during a ten-day silent meditation retreat. Inspired by my own experiences, it examines grief, memory, forgiveness and the things we leave unsaid.
Sitting (In Silence) is my debut play, exploring a complicated father-daughter relationship set during a ten-day silent meditation retreat. Inspired by my own experiences, it examines grief, memory, forgiveness and the things we leave unsaid.
How would you describe the style of your show to anyone who has never seen you before?
Darkly funny, emotionally honest and, ultimately, hopeful.
What was the lightbulb moment that led to the creation of this piece?
The idea came to me while sitting in the meditation garden during my third ten-day Vipassana silent retreat. In that environment, where you're cut off from distraction and forced to sit with your thoughts, conversations with loved ones can feel incredibly vivid. A few months later, a ten page version of the script was selected for development as part of the Kiln Theatre's Listen Local Young Writers' Programme in 2023. Being surrounded by other brilliant writers during that programme telling deeply personal stories gave me the confidence to tell my own.
What makes 2026 the perfect year for this specific story or performance?
Suicide remains one of the biggest killers of young men in the UK, and conversations around mental health are as urgent as ever. Theatre offers something increasingly rare: a room full of people experiencing the same story together, without phones or distractions. Just listening, observing and feeling. I believe stories have the power to shift perspectives, start conversations and, sometimes, change lives.
Suicide remains one of the biggest killers of young men in the UK, and conversations around mental health are as urgent as ever. Theatre offers something increasingly rare: a room full of people experiencing the same story together, without phones or distractions. Just listening, observing and feeling. I believe stories have the power to shift perspectives, start conversations and, sometimes, change lives.
 |
| Photo by Michael Julings. |
How will you mentally and physically prepare for a run at the Fringe?
Yoga, meditation, good food, plenty of alone time, the occasional sauna and ice bath, and doing my best to remember that Edinburgh is a marathon, not a sprint.
If you couldn’t use a flyer to attract audiences, what ridiculous object would you hand out to people to get them into your show?
A stinking sage stick. I'd wave it around like a mad women so people would have no choice but to escape into the theatre.
What is the one item in your Fringe Survival Kit that you can’t live without this month?
Cigarettes. Lots and lots of post-show cigarettes.
What would you deem as success at the end of the Fringe?
Sold-out shows, meaningful conversations with audiences, a television commission, and finally
being able to retire my collection of day jobs and write full-time.
Sold-out shows, meaningful conversations with audiences, a television commission, and finally
being able to retire my collection of day jobs and write full-time.
Other than your own show, are there any other shows you would recommend at the Fringe this year?
I'm really excited to see Jack Rooke's Good Grief. We explore many of the same themes in our work, and watching his journey from Fringe success to television to the BAFTA’s has been hugely inspiring.
I'm really excited to see Jack Rooke's Good Grief. We explore many of the same themes in our work, and watching his journey from Fringe success to television to the BAFTA’s has been hugely inspiring.
What is one Edinburgh spot that you would recommend people to visit when they’re not watching performances?
Arthur's Seat. It's one of the most beautiful views in the city and, despite how popular it is, still somehow isn't overrated. Bonus points for going on a roll over.
Arthur's Seat. It's one of the most beautiful views in the city and, despite how popular it is, still somehow isn't overrated. Bonus points for going on a roll over.
Can you describe the show in 5 words?
Dark. Funny. Nostalgic. Heartbreaking. Hopeful.
Dark. Funny. Nostalgic. Heartbreaking. Hopeful.
What keeps you inspired?
Artists who are brave enough to tell the truth. Writers and emerging theatre-makers who create work that feels urgent, personal and necessary, like April Hope Miller's Flush, Jade Franks' Eat The Rich and Philip Ofe’s Spontaneous Meets are not for The Weak (Terracotta Productions), which is debuting at the Hope Theatre in London this September. Aswell as my inspiring resilient mum - single mothers do bits.
What would you hope someone takes away from seeing the show?
A reminder to be present. To reach out to someone they love. To say the things they've been putting off saying. We don't always get another chance.
A reminder to be present. To reach out to someone they love. To say the things they've been putting off saying. We don't always get another chance.
When and where can people see the show?
Anatomy Lecture Theatre, Summerhall, 2.45pm daily throughout the Fringe (except 17th and 24th August). Come and sit with us.
Tickets are available from https://festival.summerhallarts.co.uk/events/sitting-in-silence/
 |
| Photo by Michael Julings. |
Post a Comment