Chris Davis on The 40-Year-Old Ballerino at Edinburgh Fringe Darnelle Radford checks in from the Edinburgh Festival Fringe with Chris Davis and Eva for a conversation about Chris’s autobiographical solo show, The 40-Year-Old Ballerino.

They cover how the piece has evolved since Philadelphia, what it means to perform for international audiences, and why Fringe remains a place for both polished work and risky experimentation. In this episode, Chris shares how the show uses ballet, storytelling, and personal history to explore healing, addiction, and self-discovery. Eva adds perspective from years of watching Chris’s Edinburgh work and helping him survive the festival in practical ways, including flyering and housing support.

Key topics

Chris talks about bringing a substantially reworked version of The 40-Year-Old Ballerino to Edinburgh, including new lighting, revised scenes, and added thematic material.

The show is deeply autobiographical, with Chris describing it as a process of healing and finding himself through performance. Eva reflects on Chris’s growth across years of solo shows, noting that the work has become more personal over time.

The conversation gets into what it takes to survive Edinburgh Fringe financially and emotionally, from expensive accommodation to the grind of daily flyering.

Chris argues that staying authentic matters more than over-localizing references, because audiences can still connect with the truth of the story.

He describes Fringe audiences as unpredictable and international, which can be challenging but also creatively rewarding.

The hosts discuss how solo shows often depend on audience size, crowd energy, and the ability to adapt in the moment.

Chris explains that the show mixes ballet with storytelling, allowing for physical improvisation and new discoveries every performance.

He highlights the importance of supporting smaller Fringe shows, not just the big-ticket ones.

Recommendations come up, including Mothman Cometh, Baby Everything, and Ten Thousand Digits of Pie.

Timestamps

(0:00) - Welcome to Edinburgh Fringe and introduction to Chris Davis

(1:17) - Reworking The 40-Year-Old Ballerino for a new Fringe run (2:09) - Why the show is autobiographical and tied to healing

(2:39) - Eva joins in and reflects on years of friendship and flyering (4:28) - Housing struggles in Edinburgh and what artists sacrifice to be there

(5:20) - Why Fringe shows are often tested, refined, and universalized

(6:27) - Staying authentic instead of rewriting for international audiences

(7:31) - Why Edinburgh rewards experimentation, even when the work is unfinished

(8:20) - Audience overload, hecklers, and performing for different cultures

(9:40) - A Hungarian audience member who seemed cold but loved the show

(11:14) - Addiction, theater, ballet, and the idea of filling a personal void

(12:37) - Art as something that quiets existential dread and gives structure

(13:32) - Why Edinburgh shows stay with you, whether they are good or bad

(14:43) - Flyering for a one-hour show and turning strangers into audiences

(15:34) - Eva’s advice on flyering without bothering locals

(16:43) - The physical toll of flyering, performing, and seeing shows every day

(17:34) - No real decompression at Fringe, just constant promotion and movement

(18:15) - Supporting smaller shows and making time for new or rough work

(19:35) - How the show keeps evolving in performance, especially in a live Fringe run

(20:30) - Ballet, bar work, and improvising movement to fit the text (21:15) - Chris recommends Mothman Cometh and explains the “scary but healing” vibe

(22:30) - Other Philly artists at Fringe and what Chris has been watching

(23:23) - Ten Thousand Digits of Pie and the appeal of strange, experiential theater

(24:05) - Edinburgh weather, wet flyering, and ending the day with the right shoes

The 40-Year Old Ballerino - Edinburgh Fringe:

https://www.edfringe.com/tickets/whats-on/the-40-year-old-ballerino

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