The New York circus project is heading to the Edinburgh Fringe this year for the first time. I have caught up with Sam Landa to find out more.
What’s your show called at Edinburgh Fringe 2025?
- HAMLET by New York Circus Project
What is the history of your show? Has it been performed anywhere else in the world before bringing it to Edinburgh?
The idea to transform William Shakespeare’s Hamlet into a cutting-edge interdisciplinary performance featuring circus arts, theatre, and dance, was originally developed at Columbia University in 2022 while Emma Owens, my co-creator, and I took an inspiring Shakespeare course. Having just founded a performing arts organisation dedicated to circus arts – the first new performance group to be approved by the University in a decade – we were determined to create a truly unique debut performance. We wanted to merge the two worlds we love – classic theatre and contemporary circus – and reimagine Shakespeare’s most famous tragedy through physical storytelling. Taking inspiration from narrative ballets, acrobatic movement becomes the medium in which the famous story is told. Hamlet is consumed by madness flipping around him, the ghost of Hamlet’s father soars high above the young prince, and Ophelia bends over backwards contorting herself for the sake of love. Breaking the boundaries of art forms and time, this spectacle-filled production transforms one of Shakespeare’s most well-known works into acrobatic choreography, conveying madness, heartbreak, and betrayal as never seen before.
In 2023, we founded New York Circus Project, a 501(c)3 organisation dedicated to producing contemporary circus and telling powerful narrative stories. In 2024, we produced and toured a professional version of our show, HAMLET by New York Circus Project, that featured alumni of Cirque du Soleil, Broadway, and TV’s American Idol. The production was met with critical and audience acclaim in Philadelphia, Washington DC, and Chicago. Andrew White from BroadwayWorld wrote, “Currently on its first national tour with their production of William Shakespeare’s “Hamlet,” co-created by Sam Landa and Emma Owens, the NYCP offers audiences an exhilarating take on a familiar tale… Something about this monolith of a tragedy inspires some of the greatest, most inventive stagings I have ever seen. And now I can place the New York Circus Project among the companies we need to watch. This is a very auspicious debut indeed.”
Performing at the Edinburgh Fringe Festival in 2025 marks our international debut!
What challenges does performing with aerial rigging bring to sharing a performance space with lots of other companies. Do you have lots of safety protocols you have to go through?
Bringing aerial rigging into a shared venue adds a unique layer of complexity. One of the biggest challenges is space management. We need specific rigging points that are not only structurally safe but also don’t interfere with lighting grids, set pieces, or other companies’ tech setups. This means coordinating early in the production process to ensure we have adequate load-bearing points and time for rigging installation and inspection. We’ve worked closely with Assembly’s technical team, submitted all of our risk assessments and engineering plans in advance, and brought in a professional rigger to ensure safe installation. Our entire cast is trained in safety protocols, and we rehearse with rigging from day one to make it second nature. We are grateful to have a brilliant Stage Manager, Allie Emmerich, and an excellent Production Designer, Nathan Files on our team. Working with one of the most prestigious presenters at the Edinburgh Fringe Festival, Assembly, who have a rich history of producing complex circus productions, has made this process much easier.
What are your plans for the show after the Edinburgh Fringe?
We’re exploring touring opportunities, both nationally and internationally, with the aim of bringing this hybrid form of circus-theatre to new audiences. We’re in early talks with presenters and venues and are excited to see where the Fringe exposure leads us.
Is it your first time at the Edinburgh Fringe?
Yes! First time attending, first time performing. We’re jumping in headfirst. I couldn’t be more honored to be here and excited for the experience.
There are over 3,500 shows performing – how do you think you will cope with the overwhelming chaos that the Fringe brings?
We have embraced the chaos from the beginning of this process – building a show that merges genres, wrangling schedules, and packing our lives into suitcases. We’re used to high-energy environments, so we’re approaching the Fringe with a mix of discipline, humour… and snacks.
What sort of other shows will you see if you have time? Has anything caught your eye from the programme?
I am especially excited to catch other physical theatre and circus work, but honestly, some of the more out-there stuff is what I’m most curious about. That’s the magic of Fringe: discovering something you never would’ve sought out on your own. A few of the circus productions that I am looking forward to seeing are Ten Thousand Hours by Gravity and Other Myths, The Genesis by Copenhagen Collective, Imago by Corporeal Imago, and Wolf by Circa!
Any advice about flyering?
Be genuine. Share what excites you about the show and invite folks to experience it! Don’t just fill seats, connect!
Do you have any “good luck” rituals you undertake before performing?
We do a company warm-up every day that blends physical activation with a few moments of stillness and eye contact. It helps us get in sync and remember that we’re in it together. Also, I always check that my phone is on Do Not Disturb at least three times before we start.
How have you found booking accommodation?
Booking accommodations is definitely one of the trickier parts of bringing a company to Fringe. However, working with our wonderful presenter, Assembly, has made the process much easier. Our entire cast and crew are staying in dorms at local colleges.
What three pieces of advice would you give to first-timers going to the Fringe?
- The weather changes and there are hills! Pack layers and comfortable shoes, you’ll need both.
- Stay open. Let the unexpected shows, collaborations, and new friends surprise you.
- Don’t buy into FOMO. It’s okay to miss things. You don’t have to see everything to have a full experience.
Have you performed at any other Fringes? If so, which has been your favourite so far?
This is our first Fringe! We’re thrilled to dive into the world’s largest performing arts festival and see what it’s all about.
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I just want to say that I feel very grateful. Fringe is a whirlwind, but the chance to bring a show like this, built on passionate collaboration, movement, and storytelling, to such a vibrant global stage is something I’ll never take for granted.
SAM LANDA BIO:
Sam is a New York City-based director and choreographer with over a decade of experience in the performing arts, working across circus, dance, and theatre. As a circus and movement consultant, his credits include Moulin Rouge! on Broadway, Disney Theatrical, and 7 Fingers. His diverse background as a dancer, circus performer, theater director, and consultant inspired him to establish the New York Circus Project – a place to explore the intersection of circus and theatrical storytelling. He is a proud alumni of École Nationale de Cirque (National Circus School), where he specialised in trapeze, and Columbia University, where he studied Computer Science and Math, focusing on technology’s role in arts and media and was President of the Columbia University Performing Arts League.
Theatre, Art and Film Reviews 
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