“Fringe is about community, not competition. We’re all here to hold up the mirror in different ways. See something you wouldn’t usually pick. Let yourself be surprised. Let yourself feel.”
WHO: Vkinn Vats
WHAT: “The Black Hole by Vkinn Vats is a searing psychological drama that delves into the dynamics of cohabiting relationship and complexities of human connection. Set in a shared space, two souls are forced to coexist, but the emotional distance between them reveals deeper wounds. As desire and trauma collide, quiet moments erupt into explosive confrontations. With raw vulnerability and twisted intimacy, it unearths what it truly means to be seen – and what we risk when we expose ourselves. Can two broken souls bridge the invisible gap, or will the space between them tear them apart forever?”
WHERE: Venue 45 at theSpace @ Venue 45 (Venue 45)
WHEN: 18:30 (55 min)
MORE: Click Here!
Is this your first time to Edinburgh?
Yes, this is my first time bringing a show to Edinburgh Fringe — and that makes it incredibly special. I’ve admired the festival from afar for years, watching how it brings together voices from all corners of the globe in a beautiful kind of creative chaos. What’s unique about EdFringe is not just its scale, but its soul: the openness, the intimacy, the risk. Every street, every basement, every breath in Edinburgh hums with possibility.
As a producer, the festival means responsibility — shaping a vision, building a team, navigating logistics, and somehow keeping the artistic fire burning through it all. But as an artist and a human being, it’s thrilling. It’s humbling. You’re not just showing work — you’re offering something raw to an audience that’s seen everything. That forces you to be better. Braver. More honest.
To me, a great festival isn’t about the size of the venue or the press buzz — it’s about connection. Work that makes people feel less alone. Stories that hit like a secret confession. And the rare alchemy that happens when a room full of strangers holds its breath at the same time.
That’s the kind of moment I live for. And that’s why I came to Edinburgh.
What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?
Since 2024, I’ve learned that survival and creativity are sometimes at odds—and sometimes beautifully aligned. The world cracked open in unexpected ways, and underneath the noise, it revealed a quieter truth: that art doesn’t need to be perfect, it just needs to be true. That lesson has reshaped the way I write, direct, and collaborate.
I’ve learned to embrace process over perfection. To sit with discomfort. To trust silence. That sometimes the most powerful scene is the one where nothing is said but everything is felt. I’ve also learned the hard way that burnout isn’t a badge of honour—it’s a warning sign. And if you’re not creating from a place of presence, you’re just recreating noise.
And yes, I’m still absorbing these lessons. Every rehearsal, every late-night rewrite, every conversation with a collaborator reminds me: stay honest. Stay tender. Stay open to the mess. That’s where the truth lives—and that’s where theatre still has the power to break us and bind us in the same breath.
Tell us about your show.
The Black Hole is an original psychological drama written and directed by me, Vkinn Vats. It’s raw, messy, and intimate—just like the relationship at its centre. The story came from a deep place of wanting to explore the power dynamics inside love and the silences that live between two people who are trying—and sometimes failing—to be seen.
The play is produced by Shooting Star Studios, a collaborative company I co-founded with Neha Jethva. We formed during the pandemic, out of a shared hunger to make theatre that’s urgent, poetic, and unafraid of discomfort. This is our first time at the Fringe as a company, though many of us have worked internationally in theatre and film.
This production is having its world premiere at Edinburgh Fringe—so there’s something electric about bringing it to life here, for the first time, in front of an audience willing to lean into the tension. After the Fringe, we’re in talks to transfer it to London, possibly across Europe and India—we want this show to travel, because its themes are so universally human: intimacy, trauma, survival, and connection.
What should your audience see at the festivals after they’ve seen your show?
After The Black Hole, I’d urge audiences to dive into shows that take risks, peel back emotional layers, or challenge the idea of what theatre can be.
Go see The Light Catcher by Ritika Shrotri. The Light Catcher follows a celebrated Indian photographer, Kanika, who’s on a quest to find her favourite portrait. As she revisits portraits of women from Ethiopia to Pakistan, India to UK, their stories come alive on stage – some heartwarming, some hard-hitting, all unforgettable. Performed by Ritika Shrotri, who transforms into 10 dynamic characters. A must watch!
My another pick is: “1902”
1902 delves into the world of Scottish football, telling the story of Hibernian’s heroic victory in the 2016 Scottish Cup Final after a 114-year wait through the eyes of four young supporters. Discover the men behind the bravado in a tale of family, friendship and passion for their team. 1902 sheds light on the dark side of football, taking an access-all-areas approach to working class life in Scotland.
Fringe is about community, not competition. We’re all here to hold up the mirror in different ways. See something you wouldn’t usually pick. Let yourself be surprised. Let yourself feel.
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