Glass Child arrives at the Edinburgh Festival Fringe 2026 with a powerful and deeply personal story, created and performed by siblings Kayah and Maitreyah Guenther. This documentary dance-theatre work explores their extraordinary bond and challenges perceptions of identity and difference.
Blending movement, storytelling and lived experience, Glass Child offers a striking insight into growing up alongside a sibling with Down Syndrome. The production asks audiences to reconsider how we connect with one another, highlighting themes of communication, resilience and belonging.
Glass Child runs at Summerhall (Old Lab) from 6–16 August 2026 at 13:30. Tickets are available here.
You’re starring in Glass Child at Summerhall, what can you tell us about the show?
Glass Child is a multi-disciplinary dance theatre show combining spoken word, dance movement and stop-motion animation.
It is a show about our lives, our lived experiences growing up, what we saw and what we felt.
It travels through a combination of emotions.
The piece draws on your real-life sibling relationship, how has that influenced the way you’ve created and perform the work?
Kayah and I have been dancing together for many years, and I feel we have developed an inner dialogue that doesn’t always require words.
Within the show are real-life memories, both positive and negative.
Our directors, Gavin Webber and Kate Harman, also met us many years ago — I was 15 and Kayah was 18 — and I think that helped us all to work together because we already had years of friendship.
Glass Child combines dance, theatre and storytelling, what makes movement such an important language for expressing this story?
Kayah has enjoyed dancing since he was practically in the womb, and I started dancing when I was 11, so for both of us it has always been an emotional outlet.
Kayah had struggles with his speech, and I was a very quiet young girl.
I think movement is a powerful thing when sometimes the truth might be a bit too painful or difficult to express with words.
The show explores ideas around identity, belonging and how people perceive difference, what do you hope audiences take away from that?
I think the greatest desire for us is awareness — the understanding that what you do matters, and that even the smallest act of kindness can go a long way.
I know this because I have seen Kayah’s soul light up when someone makes even the smallest effort. Even something as simple as acknowledging someone and saying hello can be powerful.
In this busy, ever-changing world, society often looks for difference and ways to remove it, rather than seeing the beauty and soul of those who are perceived as different.
You’ve both developed remarkable careers and experiences that feed into this production, how have your journeys shaped what we see on stage?
I think Glass Child reflects the rollercoaster of our journeys — the struggles, challenges and moments of self-discovery, as well as the joy we both find in the show.
Meeting the Farm directors Gavin and Kate was a huge blessing, as they guided us not only as remarkable teachers but also became close friends.
What would you say to anyone thinking of booking to see Glass Child?
Honestly, if you are wanting a laugh, a smile and a cry all in one experience, this may be the show for you.
And if you are someone with a lived experience of disability, whether personally or through someone you love, this could be for you — because this is your story too.
