Aufguss x Nils Frahm – Sauna Theatre

My sixth and final visit to Summerhall’s Sauna Theatre this year was an unusual one in that I attended with my wife, the only time I shared one of these sauna experiences with her. It proved a rather lovely way to round off my time in what has surely been one of this Fringe’s most intriguing new venues.

With around 35 people attending, the sauna felt comfortably populated rather than crowded. Aufguss x Nils Frahm takes the familiar ritual I had encountered across my previous visits, but this time sets it against the music of composer Nils Frahm, ranging from the neo-classical Wintermusik (2009), through Spaces (2013), to Graz (2021). Frahm’s combination of piano, electronica and more rhythmic material proved particularly well suited to the gradual build of heat, steam and movement.

The evening was divided into four sections, with two Aufguss masters demonstrating noticeably different techniques. By now I had become increasingly fascinated by these variations. The manipulation of towels as fans is not simply functional, it becomes choreography, each performer developing a recognisable style of moving hot air around the room.

Then come those wonderfully theatrical scented snowballs, infused with essential oils and placed onto the hot stones. There is always that delicious moment of anticipation as the scent begins to reveal itself and gradually fills the room.

I did, however, find the insistence on everyone leaving the sauna between each of the four sections unnecessarily prescriptive. At around 8.30pm on an Edinburgh August evening, standing outside in swimwear until you are told you can return rather rapidly changes cooling into being cold. I had not encountered quite the same insistence during my other five sauna visits. Allowing people to make that decision for themselves would improve the experience.

After six visits, I have two other practical suggestions. Small soft closers on the sauna doors would prevent them accidentally being left open and losing heat, with simple hooks outside allowing them to be deliberately held open when required. More controversially, I would install a discreet digital countdown clock. That may sound antithetical to sauna culture, but Sauna Theatre already determines the temperature, soundtrack and structure of your experience. Knowing where you are in time need not destroy the immersion.

Those are tweaks rather than fundamental criticisms. Summerhall has created a purpose-built performance sauna, combining heat with lighting and surround sound, and after six very different encounters I remain both fascinated and convinced by its possibilities.

Aufguss x Nils Frahm was a suitably meditative final sweat, and sharing this last one with my wife made it particularly memorable.

Playing until August 31^st 2026, https://www.edfringe.com/tickets/whats-on/2026AUFGUST

Reviewer: Greg Holstead

Reviewed: 23rd August 2026

North West End UK / Theatre Muse UK Rating:

Running time – 1hr 30mins