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 director Shuyi Alice Wang, writer Chentao Shen and the three actors who will perform in Nozomi Fukushima, Leanne Lim and Xinyi Li about Until Spring Comes.
Until Spring Comes intentionally rejects the standard binary of "illness as tragedy" or "recovery as triumph." How did you work with the creative team to build a directorial tone that honors restraint, vulnerability, and quiet heroism instead?
Alice: I think the key was that we never treated Maggie’s body as a problem to be solved. From the beginning, I worked with the creative team to avoid a sentimental or heroic language around illness. We did not want to stage suffering as spectacle, or recovery as an easy victory. Instead, we kept asking: what does it mean to continue living with clarity, dignity, and love when the body has changed?
In rehearsal and design conversations, restraint became our shared principle. For the performer, this meant focusing on small physical shifts, pauses, and moments of not explaining too much. With projection and sound, we also avoided directly illustrating pain. These elements create Maggie’s psychological space, but they never overwhelm her presence.
In rehearsal and design conversations, restraint became our shared principle. For the performer, this meant focusing on small physical shifts, pauses, and moments of not explaining too much. With projection and sound, we also avoided directly illustrating pain. These elements create Maggie’s psychological space, but they never overwhelm her presence.
The myth of Phaethon gave us scale without exaggerating her experience. His story moves toward excess and destruction, while Maggie’s journey moves toward stillness, acceptance, and returning to herself. For me, her courage is not loud. It is faint, steady, and deeply human — and the production tries to honour exactly that.
The play bridges Maggie’s personal recovery with the Greek myth of Phaethon. What drew you to the myth of Phaethon specifically as a lens for Maggie’s internal journey, and how did you balance mythic scale with intimate personal reality?
Chentao: When it comes to why I chose Phaethon, I think it goes back to my interest in the contemporary expression of mythology. Myths were originally ways for people to make sense of the natural and social world, and I believe they still have the power to speak to us today. I wanted to explore what I call a “downward gaze”: the way we sometimes look at people we perceive as less fortunate through sympathy, concern, or protection, while forgetting that they are simply people who want to be seen as themselves. This is what happens to Maggie. After her physical recovery, Rielle’s attempts to protect her gradually become a form of control, because he believes he knows what is best for her without really listening to what she wants. I found a similar tension in Phaethon. What interests me is not simply his ambition or his downfall, but his desire to prove who he is, particularly to his father. In both stories, there is a fundamental desire to say, “I am who I am.” I was also interested in bringing the epic scale of mythology into the intimacy of everyday life: the Sun Chariot and the fall exist alongside a cramped theatre, a couple’s arguments, and the reality of one person’s body. I never wanted the myth to overwhelm Maggie’s story. Instead, I wanted Maggie’s lived experience to allow the audience to see the myth, and perhaps themselves, differently.
You’ve blended live performance, projection, and sound to create the play's visual language. How do these elements function together to represent Maggie’s internal state and the dissolving boundaries between memory and reality?
Alice: For me, these elements do not simply decorate the story; they build the space of Maggie’s mind. Live performance keeps us close to her body in the present moment — her breath, hesitation, and small physical changes. Projection opens another layer, where memory, imagination, and the myth of Phaethon can appear around her, almost like thoughts she cannot fully control.
Chentao: When it comes to why I chose Phaethon, I think it goes back to my interest in the contemporary expression of mythology. Myths were originally ways for people to make sense of the natural and social world, and I believe they still have the power to speak to us today. I wanted to explore what I call a “downward gaze”: the way we sometimes look at people we perceive as less fortunate through sympathy, concern, or protection, while forgetting that they are simply people who want to be seen as themselves. This is what happens to Maggie. After her physical recovery, Rielle’s attempts to protect her gradually become a form of control, because he believes he knows what is best for her without really listening to what she wants. I found a similar tension in Phaethon. What interests me is not simply his ambition or his downfall, but his desire to prove who he is, particularly to his father. In both stories, there is a fundamental desire to say, “I am who I am.” I was also interested in bringing the epic scale of mythology into the intimacy of everyday life: the Sun Chariot and the fall exist alongside a cramped theatre, a couple’s arguments, and the reality of one person’s body. I never wanted the myth to overwhelm Maggie’s story. Instead, I wanted Maggie’s lived experience to allow the audience to see the myth, and perhaps themselves, differently.
You’ve blended live performance, projection, and sound to create the play's visual language. How do these elements function together to represent Maggie’s internal state and the dissolving boundaries between memory and reality?
Alice: For me, these elements do not simply decorate the story; they build the space of Maggie’s mind. Live performance keeps us close to her body in the present moment — her breath, hesitation, and small physical changes. Projection opens another layer, where memory, imagination, and the myth of Phaethon can appear around her, almost like thoughts she cannot fully control.
Sound is especially important because it carries the voices around Maggie — fragments from other people, from rehearsal, and from the world of Phaethon as it shifts into her reality. These voices do not simply explain what she feels; they echo and disturb her inner world. Sometimes they surround her like memory, sometimes like pressure, and sometimes like the myth entering the room.
Together, the body, image, and sound create a shifting language where reality is never completely separate from memory or imagination. This is important because Maggie is not only remembering the past; she is trying to understand her changed body in real time.
I wanted the audience to feel that boundary dissolving gently, not as confusion, but as an emotional truth. When someone goes through a major physical change, the present is always touched by fear, memory, fantasy, and desire. The visual language of the production tries to make that invisible inner movement visible.
This Fringe run marks the third iteration of the production, following performances at The View Festival (2025) and Central Saint Martins (2026). How has the show evolved through these different runs, and what new dimensions are you bringing to Edinburgh?
Alice: Each version has taught us something different about Maggie’s world. At The View Festival, the work was still discovering its core language — the relationship between Maggie’s body, the myth of Phaethon, and the emotional question of how to keep living after a major change. It was more like opening the door to the material and understanding where its real tenderness was. At Central Saint Martins, we were able to develop the production more fully with design, projection, sound, and a clearer spatial structure. The play became more precise: not only a story about recovery, but a psychological space where rehearsal, memory, and myth could overlap. For Edinburgh, I want to bring more clarity, rhythm, and intimacy. Fringe is intense and immediate, so the challenge is to keep the work delicate while making its emotional journey very direct for the audience. I hope this version carries everything we have learned, but with more confidence — a quieter, sharper, and more generous encounter with Maggie.
Playing an actress navigating life after colostomy surgery requires carrying immense physical and emotional nuance. How did you approach embodying Maggie’s relationship with her changing body on stage?
Xinyi: I did a lot of research into colostomy surgery, and I found that having this background knowledge was essential in understanding Maggie’s physical and emotional experience. Alongside the research, physical warm-ups and movement training were also a really important part of my preparation. During my daily warm-ups and rehearsals, I consciously explored and developed the posture, movement, and physical habits that Maggie might have in her everyday life, allowing me to gradually become more familiar with how she might inhabit her changing body.
Alice: Each version has taught us something different about Maggie’s world. At The View Festival, the work was still discovering its core language — the relationship between Maggie’s body, the myth of Phaethon, and the emotional question of how to keep living after a major change. It was more like opening the door to the material and understanding where its real tenderness was. At Central Saint Martins, we were able to develop the production more fully with design, projection, sound, and a clearer spatial structure. The play became more precise: not only a story about recovery, but a psychological space where rehearsal, memory, and myth could overlap. For Edinburgh, I want to bring more clarity, rhythm, and intimacy. Fringe is intense and immediate, so the challenge is to keep the work delicate while making its emotional journey very direct for the audience. I hope this version carries everything we have learned, but with more confidence — a quieter, sharper, and more generous encounter with Maggie.
Playing an actress navigating life after colostomy surgery requires carrying immense physical and emotional nuance. How did you approach embodying Maggie’s relationship with her changing body on stage?
Xinyi: I did a lot of research into colostomy surgery, and I found that having this background knowledge was essential in understanding Maggie’s physical and emotional experience. Alongside the research, physical warm-ups and movement training were also a really important part of my preparation. During my daily warm-ups and rehearsals, I consciously explored and developed the posture, movement, and physical habits that Maggie might have in her everyday life, allowing me to gradually become more familiar with how she might inhabit her changing body.
Nozomi: At first, I didn't know anything about a colostomy, so I started by researching it. During our conversations, I learned that someone close to my acting coach actually uses one, living a normal life and even raising children. Because of this, I realized there is another side to it—a quiet struggle of wanting to be treated as "normal" while dealing with things people don't easily see. Learning about these background details completely changed how I interpret the lines. Also, our director Alice gave me many physical experiments to connect with Maggie through movement. Because there is no single "right answer," searching for Maggie within myself while exploring has been a very creative and memorable process.
Leanne: I can only imagine what it's like to be in her shoes. I think there’s a lot of self denial in her new normal and I can only imagine the people who’ve gone through such a major life event would thrive if they have a very loving and supportive community around them. But Maggie doesn’t so she’s alone fighting her demons which means she’s a badass but also very tired.
 |
| Photo by Theatre By Chance. |
Maggie is herself an actress rehearsing a play within the play. How do you navigate those meta-layers as a performer—switching between Maggie’s lived reality and her performance within the myth?
Leanne: Yes, the million dollar question. I think of Phaeton as an ambitious young demigod who desires to be acknowledged and loved publicly by his father. Maggie is a selfless girlfriend who’s trying to show up for her boyfriend while battling body dysmorphia. I think that’s a gateway to embodying their priorities lol.
Nozomi: When I first got the script, I wondered how these two completely different worlds could connect. But as I read on, I realized that rehearsing the role of Phaethon helps Maggie discover so much about herself. In my own life as an actress, my roles often affect my real emotions, and this play captures that exact experience. I switch between them by thinking about how Maggie contrasts with, or mirrors, Phaethon, and how they influence each other in different scenes.
Xinyi: The most important thing, of course, is to first become Maggie. Even as an actress, Maggie would shape her performance of the character through her own perspective, understanding, and personal experience. Once I had done the character work for Maggie, I was able to see and experience everything happening around her through her eyes, and understand how she would approach and carry out her own performance within the play.
The Edinburgh Fringe is fast-paced, intense, and emotionally demanding. How are you preparing mentally and physically to bring such an intimate, vulnerable solo story to audiences every day?
Nozomi: Coming from an opera and musical theatre background, this solo role is a big challenge for me. Sometimes it feels so real that it hurts my heart, but after performing it, I always feel a strong sense of courage and hope. To prepare, I put my health first by getting enough sleep, trying not to be a perfectionist, and keeping an open mind where I'm not afraid to make mistakes in the rehearsal room.
Nozomi: Coming from an opera and musical theatre background, this solo role is a big challenge for me. Sometimes it feels so real that it hurts my heart, but after performing it, I always feel a strong sense of courage and hope. To prepare, I put my health first by getting enough sleep, trying not to be a perfectionist, and keeping an open mind where I'm not afraid to make mistakes in the rehearsal room.
Leanne: I just try my best within the cards I’m given and pat myself on the back for every milestone, even if it’s an inch. I don’t touch it when I can after allocating time for Maggie just so I can be myself. It’s also a lot of manifesting that I will get there in time for Maggie’s story.
Xinyi: One of the realities of being an actor is giving yourself fully to the rehearsal room, and that kind of working rhythm has already become a part of my life. So personally, I feel quite comfortable with the pace and intensity of the Fringe. As for the intimate and vulnerable aspects of the piece, I think one of the most beautiful things about theatre is that, in the shared space of the present moment, I’m given the freedom to show vulnerability, create an intimate connection with the audience, and tell different stories. For me, that is something I genuinely enjoy and cherish.
What makes 2026 the perfect year for this specific story or performance?
Producer: Maggie’s story is a powerful one. I think stories about people learning to understand themselves, and recognising when it’s time to leave things that no longer serve them - even when those things once did - feel particularly resonant right now. There is something powerful in being able to identify what is right for you, and real bravery in acting on that knowledge. At the moment, I feel as if we are seeing a shift in attitudes around changing our minds and letting ourselves to move away from choices or relationships that no longer feel right. In 2026, we are changing the idea of having to stick by a decision just because we’ve made it, and there is more recognition that growth can mean reevaluating what we want and having the courage to choose differently.
Producer: Maggie’s story is a powerful one. I think stories about people learning to understand themselves, and recognising when it’s time to leave things that no longer serve them - even when those things once did - feel particularly resonant right now. There is something powerful in being able to identify what is right for you, and real bravery in acting on that knowledge. At the moment, I feel as if we are seeing a shift in attitudes around changing our minds and letting ourselves to move away from choices or relationships that no longer feel right. In 2026, we are changing the idea of having to stick by a decision just because we’ve made it, and there is more recognition that growth can mean reevaluating what we want and having the courage to choose differently.
If you couldn’t use a flyer to attract audiences, what object would you hand out to people to get them into your show?
Producer: Maybe a red jeweled broach - when you see the costume you will understand why!
Producer: Maybe a red jeweled broach - when you see the costume you will understand why!
What is the one item in your Fringe Survival Kit that you can’t live without at the Fringe?
Producer: Snacks - we need to be fueled up and strong to keep us going!
What would you deem as success at the end of the Fringe?
Alice: For me, success would mean that the show reaches people honestly. If even a few audience members leave feeling that Maggie’s courage stays with them — not as a big message, but as something quiet and human — then the Fringe has been meaningful. I also hope the run opens new conversations and future possibilities for the life of the work.
Alice: For me, success would mean that the show reaches people honestly. If even a few audience members leave feeling that Maggie’s courage stays with them — not as a big message, but as something quiet and human — then the Fringe has been meaningful. I also hope the run opens new conversations and future possibilities for the life of the work.
Other than your own show, are there any other shows you would recommend at the Fringe this year?
Alice: I would recommend ‘Strange Tales from Liaozhai’. I saw it at the Aranya Theater Festival and thought it was brilliant, so I would really love to watch it again. Yuerge is one of the most creative and talented female choreographers in China, with a very strong personal style. I’m also curious to see how this production will meet an Edinburgh Fringe audience.
Alice: I would recommend ‘Strange Tales from Liaozhai’. I saw it at the Aranya Theater Festival and thought it was brilliant, so I would really love to watch it again. Yuerge is one of the most creative and talented female choreographers in China, with a very strong personal style. I’m also curious to see how this production will meet an Edinburgh Fringe audience.
Producer: I am looking forward to seeing the other shows at Greenside @ Georgestreet. We are so lucky to be performing in a venue with so many other fantastic shows happening everyday, and I am looking forward to meeting all of the artists there!
Can you describe the show in 5 words?
Alice: Leaving becomes a quiet revival.
What keeps you inspired?
Alice: I am inspired by small moments of human courage — the ways people continue, love, and rebuild themselves after something has changed. I am also inspired by the rehearsal room, where different bodies, voices, and imaginations can slowly reveal something I could not find alone.
Alice: I am inspired by small moments of human courage — the ways people continue, love, and rebuild themselves after something has changed. I am also inspired by the rehearsal room, where different bodies, voices, and imaginations can slowly reveal something I could not find alone.
What would you hope someone takes away from seeing the show?
Alice: I hope they leave with tenderness toward their own body, and toward the fragile parts of other people. Maggie’s story is specific, but I think her courage belongs to many of us: the courage to face what has changed, and still choose to stay present in life.
Alice: I hope they leave with tenderness toward their own body, and toward the fragile parts of other people. Maggie’s story is specific, but I think her courage belongs to many of us: the courage to face what has changed, and still choose to stay present in life.
When and where can people see the show?
See Until Spring Comes on daily at 12:35pm daily between 17-22nd August, Greenside @ George Street (Lime Studio). We can’t wait to share Maggie’s story with you!
See Until Spring Comes on daily at 12:35pm daily between 17-22nd August, Greenside @ George Street (Lime Studio). We can’t wait to share Maggie’s story with you!
Tickets are available from https://www.edfringe.com/tickets/whats-on/until-spring-comes
Please note: As an international and multilingual team, translation software may have been used in some sections of this interview.
 |
| Photo by Theatre By Chance. |
Post a Comment