Hannah Maxwell's 'Turn Your F*cking Phones Off' Delivers a Scathing Indictment of Big Tech at Edinburgh Fringe

Hannah Maxwell's latest Edinburgh Fringe production, "Turn Your F*cking Phones Off," currently showing at Summerhall in Edinburgh until August 31, 2026, offers a potent and unflinching critique of the pervasive influence wielded by major technology corporations. The show directly confronts what Maxwell terms the "tech bros' targeted assault on democracy" and highlights the audience's own complicity in a society increasingly dominated by smartphone addiction. This production marks a notable evolution for Maxwell, who previously employed a more experimental approach to gauge audience interest. Her 2025 Edinburgh Fringe show, "Babyfleareindeerbag," served as a unique form of market research, where she presented three distinct concepts for potential full-length productions. While a whimsical piece centered on her father's cherished teddy bear puppets was a viable option, Maxwell ultimately felt compelled by the prevailing global climate to address the more urgent and pressing issue of technological overreach.

The decision to pivot from personal or whimsical narratives to a direct engagement with the societal and political ramifications of the tech industry signifies a deliberate artistic choice. "Turn Your F*cking Phones Off" moves beyond individual experiences to tackle broader concerns about power, control, and the erosion of democratic processes. The show's provocative title is a deliberate and confrontational call to action, designed to jolt audiences out of their passive engagement with digital devices and encourage a critical re-evaluation of their relationship with technology. Maxwell aims to disrupt the comfortable complacency that often accompanies constant connectivity, urging viewers to recognize their own role within the digital ecosystem.

Summerhall, a venue renowned for hosting avant-garde and thought-provoking performances, provides an ideal setting for Maxwell's challenging work. Its reputation within the Edinburgh Festival circuit aligns perfectly with the show's intent to spark dialogue and critical reflection. The Edinburgh Fringe Festival itself, a global platform for artistic innovation and diverse expression, offers a fertile ground for artists like Maxwell to present work that directly confronts contemporary societal issues. In this context, "Turn Your F*cking Phones Off" stands out as a significant piece of social commentary, utilizing the medium of theatre to dissect the intricate and often troubling relationship between powerful technology companies, democratic institutions, and individual autonomy. Maxwell's evolution as a performer and writer is evident in her commitment to using her artistic voice for critical discourse, making this production a compelling and timely examination of our digital age.