Edinburgh
Fringe 2026
25 days across three rooms at Summerhall. 853 people playing a new instrument with the Melbourne Symphony Orchestra.
“The tech is magic, the attention to detail is magic, the overall effect is magic.”
“A different level of immersion — placing each player in the heart of the orchestra for ten glorious minutes of Beethoven’s Seventh.”
The Scotsman“The experience of sitting on stage and hearing the Symphony play around you was worth the price of admission alone.”
The AU Review“We are not just appreciating the musicians’ talents, but creating something new with them.”
A Youngish PerspectiveShare of capacity filled across 25 show days. Every performance seats five.
Every controller logged how its player moved. Averaged across the run, audiences moved their whole bodies to Beethoven.
Movement features are anonymised research data.
“If you’ve ever wished you could play in an orchestra, here’s your solution – no ten thousand hours needed.”
“Very impressed with the technology. Beautiful venue!”
“Again please”
A small team in white coats that spent 700 hours with new performers.
Four staff a day, seven hours a day, every show day of the run: resetting three rooms between every group of five, fitting headsets and calming nerves, tuning the instruments as the season went on, and meeting every single person who played. Created by House of Oz, The Sonicrats and the Melbourne Symphony Orchestra. Creative team: Ciaran Frame, Alon Ilsar, Erick Mitsak, Steph O’Hara, Jake Robb, Ed Turner and Kezia Yap, with thanks to Monash University’s SensiLab.
48 articles, listings and broadcast items across the United Kingdom and Australia.