Join Astronaut Indra on a nine-month mission to the moon… but not all missions are successful. A new autobiographical solo show by Indra Wilson about the lonely, turbulent journey of experiencing pregnancy loss as a queer young person. A black hole forms when a star dies, explodes into tiny little pieces until it returns back to the dust it once was – as if it never even existed in the first place. With dynamic sound and projections, be immersed in this unique, heartfelt and hopeful debut. Produced by award-winning feminist company, F-Bomb Theatre (Fringe First, Sit-Up Award).
Would you mind giving us a brief insight into what your show/event/performance is?
FLOAT is an autobiographical performance that explores how one copes with grief after losing a pregnancy as a young, queer person. The piece uses imagery of the solar system through AV. It interweaves audio clips from historic space missions, including Apollo 11 and Apollo 13, as a metaphor for the turbulent journey that pregnancy can feel like and the intense feelings of failure and isolation that often accompany pregnancy loss. This show was created after suffering pregnancy loss as a young, queer solo parent.
The show starts with me reminiscing about my childhood love for NASA and everything in space, using storytelling to capture the childlike wonder and passion I felt. Throughout the show, I comedically imagine a world where I am a famous Apollo 11 team member during their 9-month mission to the moon by manipulating historically archived audio/visuals from the mission. The performance reimagines the mission as if it were a failure after 13 weeks of take-off, acting as a metaphor for early pregnancy loss and my own experience of it. What starts as a comedic, energetic story about my love for NASA shifts into a thought-provoking performance as the lack of research around pregnancy loss is brought sharply into focus.
Tell us about the creative team and the process involved?
FLOAT is written and performed by myself, but built with brilliant collaborators- Rachel O’Regan – Producer, Kelsey Sullivan – Assistant Producer, Niloo-Far Khan and Cora Bissett Directors, Georgia Nelson – Dramaturg, Lauren McGarvey – Stage Manager, Kirsty May Hamilton – AV Designer, Adi Currie – Lighting Designer, Maia Harding – Sound Designer and Composer, Izzy Gough – Set Designer, Nicki Martin-Harper – Costume Designer.
The team have all helped tether this story to something bigger than myself. We worked physically as well as textually, drawing from my own experiences and the emotional terrain of space to create a show that’s tender, political, and a little bit sparkly. It’s been a dream come true, not only to build this story with such care, but to do so alongside a fully feminist, queer, and gender-diverse team. Their insight, integrity, and lived experience are woven into every moment of the piece, and that makes it all the more powerful.
How does it feel coming to the Fringe?
Exciting. Terrifying. Magical. Performing at the Fringe has always been a dream of mine, and doing it with such a personal show feels so amazing- to do it at Gilded Balloon, where so many incredible actors and comedians have stood before me, is truly surreal. To be supported by Made In Scotland on this show as well feels so powerful for my first time at the fringe. I am really honoured by the support the show has received.
With shows from all over the world at the Fringe, what sets yours apart?
It’s a solo show woven with hope, heart, and deep care. At its core, FLOAT creates space for conversations around pregnancy loss while gently inviting the audience to reflect on their own experiences of grief.
The AV and set design add a layer of quiet magic, turning the performance into something tender, transformative, and a little bit otherworldly. Every detail has been crafted with intention, and that care shines through in every moment on stage.
Of course, there is also a confetti cannon and a Barbie monologue because healing can hold joy, too.
Is there anything specific you’re hoping the audience will take away?
I hope audiences leave feeling a little less alone. Whether they’ve experienced loss, questioned their choices, or simply found themselves drifting through life without a clear direction, I hope something in FLOAT’s journey speaks to them. At its heart, this show is about the quiet courage it takes to carve your own path, even when everything feels uncertain or dark.
I also hope it sparks deeper conversations. We urgently need to challenge how workplaces and the medical system support or fail to support those who’ve experienced pregnancy loss. Real change is needed to ensure that care, dignity, and recognition are extended to everyone, at every stage of that journey.
Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?
FLOAT is for queer audiences, young women, and anyone who’s ever cried in an ASDA toilet. I’d especially love to see young parents in the crowd, people who know what it’s like to navigate the medical system before they’ve even found their footing in adulthood. And honestly, I think there’s something powerful about people coming who never want children.
There’s a richness in seeing how different relationships to parenthood, choice, and care can all intersect in this space.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
I will be doing a lot of non-space activities to relax and to try and see as many shows as possible. I’ve got a list of other brilliant solo performers and storytellers I can’t wait to see. Also, anything weird and wonderful at 11 am or midnight — the Fringe sweet spots. I am really excited to see shows like Mary: A Gig Theatre Show by Emma Russ Productions, Pickled Republic by Ruxandra Cantir and Small Town Boys by Shaper/Caper.
In your ideal world, how can we improve the Fringe, performance, and the industry?
More funding. We need meaningful support for artists from marginalised backgrounds, not just to get them in the room, but to keep them there. That means free rehearsal spaces, affordable housing, and better care for those working with emotionally heavy material, mentally, practically, and structurally. We need a Fringe that doesn’t just celebrate bold voices but sustains them.
And we need an industry that’s brave enough to stand for what’s right, whether it’s trans rights or freedom for Palestine, loudly and clearly. One that chooses to be on the right side of history, and never forgets the power theatre holds to shape it.
FLOAT runs at Venue 24:Other Yin at Gilded Balloon Patter House
Runs: July 30th – August 25th
Photo credit – Looky Here
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