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I started my Edinburgh Fringe 2026 lying down. On a white bunk bed – a middle height one of a triple set – at a far end of what looked like a long and narrow rugged steel portacabin. It was the first few days of the festival with most acts still in preview, so the only shows I could get into were Darkfield’s audio theatre installations. This turned out to be an apt beginning to a festival in which theatre seemed to be asking audiences to surrender habitual ways of looking, listening and making sense of the world. It’s no…

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