EdFringe Review: SAND

Kook Ensemble’s Sand offers a refreshing, ambitious multidisciplinary piece that tackles the reality of living with dementia and memory loss through an innovative blend of circus arts, dance, and theatre. Reviewing a show like this can be difficult; there is an inherent pressure given the importance of the subject matter and the desire to support such stories. Sand builds its identity on a striking visual contrast: placing a heavy, devastating disease against a light, sunny, holiday-tinted beach aesthetic. So writes Alena Shmakova for the QR.co.uk…

While the metaphor of sand slipping away as memory loss isn’t entirely new, this juxtaposition between bright vacation imagery and cognitive decline offers a distinct lens, even if the overall narrative picture occasionally feels distorted.

The show’s fractured narrative reflects the fog of cognitive decline, but this approach sometimes works against the storytelling. Most notably, the connection between the main characters and their two younger counterparts isn’t immediately obvious—something that would have benefited from a brief programme note. Choreographically, the acrobatics are visually striking, yet they occasionally feel too ethereal for such a grounded human story, leaving narrative gaps where emotional clarity is needed and possibly could be more easily conveyed by dance. The juggling also sometimes feels out of place, though it culminates in a deeply powerful final scene that completely justifies its choice.

Soundscape and Staging Challenges

Musically, sound designers Pete Buffery and Tayo Akinbode give the production the feel of a curated playlist. Their eclectic mix of tracks feels entirely deliberate, echoing the way specific songs drift back into our memory, even if the soundtrack ultimately operates more as a collage than a unified narrative thread.

On a technical level, the staging struggles against the geometry of Summerhall’s Main Hall. Elements of the set obscure sightlines for those seated on the sides, making it evident that the performance was designed strictly for a front-on view.

“While the metaphor of sand slipping away as memory loss isn’t entirely new, this juxtaposition between bright vacation imagery and cognitive decline offers a distinct lens, even if the overall narrative picture occasionally feels distorted.“

Despite these friction points, Sand remains a compelling work of physical theatre and a rewarding watch for anyone interested in how abstract movement can map the human experience. It is a brave attempt to visualise the invisible, and even in its narrative abstraction, it succeeds in making us feel the weight of what is being lost. This resonance was recently recognised by the show’s Bragi Award win, presented by Summerhall Arts and Shepherd and Wedderburn.