Getting to see Cooking With Kathryn is the perfect example of a welcome Fringe surprise – someone new to me and the Fringe, who has created something that fully reflects its anarchic, messy spirit. An absolute riot.

Gross in some places, soft in others, raucously fun all the way through. It’s a clown show that fully celebrates the joy of playing around. At every opportunity, Su takes the wilder option and runs with it.

Like the skirt suit she’s in search of, Baby Doomer is woven from honeyed threads. She wears both wonderfully. Can you plausibly call someone one of the greats this early in their career?

Marjolein’s perspective is a gift and Lein is another hypnotic, lyrical piece of work, and as funny as ever. Even if we haven’t all watched nuns trampolining in Amsterdam, being lost is a universal feeling.

I love all of it. Ayoade Bamgboye has the freshness of a new comedian performing without rules or restrictions. You truly have no idea what she might do next, and she makes it appear like she doesn’t either. It’s thrilling.

There are few people more naturally suited to the job at hand. Molly McGuinness’s debut Slob flows out of her with seemingly effortless dexterity.

I’ve been hearing rumblings of Ayo’s talent for a while and it’s immediately obvious why, both to me and this sold out crowd. His ease on stage, his delightful, sunny disposition and winning earnestness all combine to endear you to him straight away.

I could have watched endless iterations of couples (and throuples) galavant in different costumes around the attic – I lost all sense of time and never wanted to leave.

Her debut show is ticking all my boxes. Musical theatre. Check. Anxiety. Check. Feeling so much gratitude for your lovely therapist that you want to send them a gift but don’t know if it’s appropriate (it’s probably not). Check!

Sharon’s wellness tips are much more usable e.g. drink so much water to stave off your anxiety that you nearly piss yourself, scientology, bring back fortune tellers…

His rasping baritone and sudocremmed face thrust into the front row, he demands a nervous audience member call him “Daddy”. And yet, for all his broad-shouldered, domineering monstrosity, this character is strangely likeable. 

Main Character Energy is an elaborately camp and flamboyant parody of the one woman play and all its tropes, but it also serves as a genuine slate for her many talents

It’s a perfect example of the artfulness of “silly” comedy, showing how much “silly” comedy relies on clever writing and rigour to make something that comes across so effortlessly bizarre. I haven’t laughed as consistently and uncontrollably at any show this Fringe.

Every moment is clearly so carefully considered from start to finish, expertly structured and solidifying him as one of the funniest comedy writers and actors around.

The combination of Zoe’s confident storytelling ability and precise, razor-edged jokes make this the kind of rom-com you’d be running to rent from Blockbuster on a Friday night

Lil Wenker effortlessly achieves a level of audience commitment that is often hard to come by. And it’s a necessary thing; this show hinges on active participation.

Til Death Do Us Hearts is the wedding after-party for the audience, and Two Hearts treats us to an abundance of gut-busting ear worms