How would you describe your show to someone discovering it for the first time at the Fringe? It’s a raunchy satire about the Dancing Plague of 1518 that turned the city of Strasbourg upside down. Throughout the chaos is a budding love story between two former lovers, Katherine and Anna. In the piece you’ll learn some historical facts and fiction, laugh, and be emotionally touched. What moment, idea or frustration first sparked this show into existence? The second I heard about this incident in history I knew it was perfect for story creation. It was just a matter of finding the story that lived within the incident. After seeing the masterpiece that is, Portrait of a Lady on Fire, I was inspired to make it a queer love story that pushes the play forward. I initially wrote this during the Covid outbreak and realized I was being subtly influenced by it and decided to go full force into that direction. How has the show evolved from its earliest idea to what audiences will see now? It was first written as a movie that was completely serious. After having a “come to Jesus” moment and realizing I’m not Aaron Sorkin, I decided to write it as silly and unserious as I am. Once I found the Town Crier it all started coming together (you’ll see why). Our show at Edinburgh is an abridged version of the show so there’s even more if you want it! What makes Edinburgh Fringe the right place for this show right now? It’s always been a goal of mine to go/participate in the fringe and this show feels like the perfect silly, global, and relatable show to take. Ultimately, due to support from people in my corner I decided to take the leap and bring it to the fringe. I’m so grateful for their support and incessant push. Shoutout Michele Keeler, my writer’s group, Kenny Hughes, Tallulah Jones, and my parents! What does bringing this particular show to the Fringe represent for you personally? After years of assisting fantastic showrunner’s and creator’s in Hollywood this is my chance to step out as a writer. I think this show highlights my voice in the best way and I am so excited to share it with everyone. Ultimately, this is my chance to stand in the spotlight and own what I have been working on for so many years. What has been the most unexpectedly challenging part of getting this show to Edinburgh? Raising money wasn’t unexpectedly difficult but it has been tough. Thank you to our supporters! This show also has a large cast so getting everyone in the same room at the same time to rehearse has been a wild challenge. As a result, we’ve had some very fragmented rehearsals. Our actors are incredible but also busy (as they should be)! I’m glad we’ve made it work. If audiences leave the venue holding onto one thing, what do you hope it is? Love hard and take care of your mental health. How do you think performing this show during a Fringe run will shape it? I can’t wait to hear audiences from different countries hear it. I think it’s a global story but still it’ll be very fascinating to see if some of the jokes translate. Luckily love is universal so we won’t have an issue there. Who do you hope this show finds at the Fringe? Fellow creatives, possible future producers, and audiences that want to laugh and have fun with us. Finally, if this show came with a warning label, what would it say? Warning you may piss your pants laughing or so I’ve been told. 1518: The Dancing Plague runs at The Edinburgh Festival Fringe from 24th-29th August 2026.
Next in our Edinburgh Fringe interview series, we speak to Hannah Ponturo about her new show, 1518: The Dancing Plague. Described as “a satirical comedy based on the very real mass hysteria that led to uncontrollable dancing in medieval Europe”. Blending absurd comedy with timely social commentary, 1518: The Dancing Plague draws uncanny parallels between a bizarre historical event and the challenges of our modern age, inviting audiences to join a dance party they seriously won’t forget.
