Lewis Major’s show TRIPTYCH Redux is currently playing at Edinburgh Fringe, presented by the House of Oz.
“For those that missed Lewis’ entirely sold-out run in 2024, you’re in luck – his life-changingly beautiful show is back, reduxed – if you managed to snag a ticket last time to this multi award-winning, highly decorated work, you’re in for a surprise: Lewis has choreographed a new opening so the triple bill is now wholly his.
See ‘intense movers trip the light fantastic’ (Guardian) for the last time before Lewis answers the call of the International Festival. A collocation of sound, light, movement, space, shape and form guaranteed to stir the emotions.”
Where: ZOO Southside
When: to 24 Aug
Ticket link: https://www.edfringe.com/tickets/whats-on/triptych-redux
You have a new opening for the show following its successful run last year. Can you tell us more about why?
The chance to create something new as a kind of little palate cleanser to the main event was something I’d been thinking about for a while and I was encouraged to do it by people who saw the show last year and loved it.
It felt like the right moment to add something fresh to the experience, a new entry point that would set the tone in a different way.
Last year’s opening was something I’ll always be grateful for. It was shaped by the brilliance of my mentors and teachers, and their influence helped set the standard for the work. But now, it feels like the right time to stand completely on my own.
This new opening is entirely ours – mine and the dancers’- and it’s exciting to feel that ownership and creative independence as we move forward.
How would you describe the show to a prospective audience member?
In the simplest terms, it’s a triptych – a collection of three short dance works – that sit together as one evening of performance.
Each piece is quite abstract in its own way, but at their core, they’re about beauty, non-duality, and what it means to be human.
What’s important to us is that the work feels accessible without ever talking down to the audience.
We’re based in the deep south of regional South Australia, and we pride ourselves on creating work that feels just as at home on a stage in Edinburgh as it would in a shearing shed back home.
The pieces are designed to be audience-facing, to create a shared experience rather than lecture or be overly didactic.
We want people to feel engaged, curious, and moved. It’s about making something worth sharing together.
Something you can take with you after you leave the theatre, even if it’s just a moment that made you pause and feel connected.
How did you make a start as a choreographer? Do Fringe festivals inspire you?
I actually came to dance pretty late compared to most people in the industry. I didn’t grow up with formal training or that classic “started dancing at three” story.
But even from the beginning, I always knew I was more interested in making work than being in the spotlight as a dancer.
I loved the idea of building something from scratch and shaping the whole world of a piece, but for a long time I just didn’t have the confidence.
Looking back, I wish I’d started choreographing earlier. When you’re younger, you second-guess yourself so much, and I was definitely guilty of that. I’d have ideas, but I was hesitant to put them out there in case they didn’t land.
It took me a while to realise that you actually find your voice by trying, failing, and trying again.
Fringe festivals played a big part in that journey, especially our home festival at the Adelaide Fringe. The Adelaide Fringe was such a great space to experiment without the pressure of huge budgets or expectations, and we’ve always been so supported by the crew there.
More people should start at the Fringe! You can take risks, try something new, and connect directly with audiences in a way that feels alive. That energy is inspiring.
I still love the way Fringe festivals encourage that sense of play and experimentation, even when there’s a bit more pressure (as there is now!)
What are you looking forward to the most at Edinburgh?
Honestly, it’s the energy of the place. There’s nothing quite like Edinburgh during Fringe.
Every corner, crack and cranny of the city feels alive with possibility, and you’re surrounded by artists and audiences who are just as excited to be there as you are.
I’m obviously looking forward to sharing the work with new audiences and seeing how it lands in this new context but I’m also excited to just catch up with other artists and old friends, see what everyone’s been working on, and be inspired by the sheer variety of shows and art on offer.
And, if I’m being totally honest, I’m really looking forward to those little moments in between: post-show chats in the bar, swapping stories with people you’ve only just met, and walking through the city late at night when it feels like the whole place is humming.
What’s next for this show?
We’ve already been on the road for two months in Brazil, Italy, France, and Ireland plus, before that, we had a regional tour of South Australia and a massive Adelaide Fringe season.
After Edinburgh, we’re heading straight to Korea and then home to Australia for a week in Sydney.
After that, back in Europe with a stop in Portugal, followed by a 10-city UK tour, and there’s a whole bunch of other exciting projects and opportunities lined up beyond that. It’s a full schedule, but we’re so grateful for the momentum the show has built.