The Waiting Room – Immersive AI Theatre @ EdFringe 2025

“It all started with two experimental theatre companies… joining forces to create something truly unique,” says The Waiting Room Collective, reflecting on the origins of their AI-driven immersive experience, The Waiting Room, set for its world premiere at the Edinburgh Fringe 2025. In an exclusive interview, collective members Natalia Yandyganova (writer-director), Joyce Laoagan (producer), Anna Bredikhina, Sabrina Morabito, and Jin Huang (co-producers) discuss their innovative show, running 4–16 August at C Alto (studio), Quaker Meeting House.

Billed as a fusion of theatre, game, and philosophical exploration, The Waiting Room uses custom AI to craft personalised narratives for each audience member, building on its sold-out run at the 2024 Fringe.

Roots of a Collective

The Waiting Room is a collaboration between two independent New York-based companies, Angry Fish Theatre and The Ally Artists Group, formed during the pandemic to explore new theatrical forms. Yandyganova, a writer-director with a focus on interactive storytelling, and Laoagan, a producer with experience in immersive productions like Forward Flux (2011–2012), lead a team that includes Bredikhina (performer), Morabito (stage manager), and Huang (partnerships lead). Their 2023 Fringe show, Soulmates (Not) Found, introduced AI-driven narratives, paving the way for The Waiting Room’s bespoke audio system.

Laoagan explains, “Our mission is to innovate within theatre and create new shared experiences using technology – ones that enrich and challenge the field.” The show’s concept emerged during lockdown. Yandyganova recalls, “During the pandemic, Natalia started writing an experience about ‘waiting’ inspired by the collective waiting we all endured.” Laoagan adds, “I’d actually done immersive work before, back in 2011–2012 with Forward Flux… And now… here we are!”

“Our mission is to innovate within theatre and create new shared experiences using technology – ones that enrich and challenge the field.”

Joyce Laoagan (producer)

Evolving the Experience

Participants enter a “liminal waiting space” where a message from their future self, shaped by generative AI, unfolds through audio-led narratives. Each choice creates a unique story exploring moral dilemmas and global crises. Since its 2024 Fringe success, the show has been refined. Bredikhina notes, “We’ve added a visual layer, which activates another sense and makes the experience even more immersive.” Yandyganova says, “Now… the storytelling, sound design, and immersive structure are all much more polished. But we’re already looking ahead to more interactivity.”

Audience reception has changed, too. Laoagan observes, “When we first introduced Soulmates (Not) Found there was a lot of backlash against AI… A year later… they were much more curious and open and we had sold out experiences consistently.” Morabito emphasizes authenticity: “Many shows call themselves ‘immersive,’ but they’re really not… We’re building fully immersive, participatory storytelling that transforms the audience into collaborators.”

**Some satisfied conspirators from previous adventures in The Waiting Room**

The Appeal of Interactivity

The collective sees interactive theatre as a response to modern audiences. Huang explains, “I think people are tired of passively watching things. They want to be part of the story.” Morabito adds, “With technology and social media, people spend so much time isolated… They’re craving real connection.” Yandyganova connects this to broader trends: “We live in an age where everything is interactive — phones, media, even how we shop or date.”

Laoagan ties it to post-pandemic shifts: “After the pandemic? That hunger to connect… has only grown.” Bredikhina highlights the show’s balance: “Even though it’s shared, it’s still deeply individual. Everyone’s experience of the narrative is different.”

“I think people are tired of passively watching things. They want to be part of the story.”

Jin Huang (Co-producer)

A Reflective Premiere

With upgraded AI and AI-generated visuals, The Waiting Room invites audiences to explore existential themes, including war and loss, as noted in its trigger warnings. Its 2025 Fringe run builds on Soulmates (Not) Found and 2024’s success, marking a new chapter for the collective. Yandyganova reflects, “What began as a one-off collaboration turned into a full-blown project: half experiment, half theatrical experience… half philosophical piece – okay, maybe three halves!”

As the collective prepares to bring their vision to Edinburgh, their work raises questions about technology’s role in storytelling and human connection. “We’re a growing collective committed to pushing the boundaries of theatre,” they say, inviting audiences to step into a narrative shaped by their own choices.

Featured Image: The Waiting Room in action – from Angry Fish Theatre and The Ally Artists Group