Lily Phillips, Monkey Barrel ★★★★

Lily Phillips is keen to tell us at the top of her show that she’s not that Lily Phillips. There’s no OnlyFans content in Crying but, dealing as it does with her experience of having a baby, it’s graphic in a different way. So strap in.

The Beautiful Future is Coming, Traverse Theatre ★★★★★

Jacob Nussey, Pleasance Courtyard ★★★★ 

Rob Auton, Assembly Roxy ★★★★ 

The stage is littered with 30-odd large white cards bearing words such as “love”, “believe” and “push”. Rob Auton comes on stage and tells us he’s CAN, a former motivational speaker, and in the following 60 minutes of CAN (An Hour-Long Story) we hear his tale.

Monstering the Rocketman by Henry Naylor, Pleasance Dome ★★★★

Lost Lear, Traverse Theatre ★★★★

A rehearsal room; a tense preparation session for a production of King Lear, provocatively gender-swapped; a troublesome diva in the title role; and a near-silent understudy barely able to contribute.

Alison Spittle, Monkey Barrel ★★★

Alison Spittle is fat, she tells us at the top of the show. But not as fat as she used to be. And that’s the premise of BIG, in which she describes why she has been overweight since she was eight years old and what led to the recent weight loss – “about an XL Bully’s-worth”.

Rhys Darby, Pleasance Courtyard ★★★★

Rhys Darby, the New Zealand actor and comic best known as Murray Hewitt in Flight of the Conchords, is back at the Fringe after nearly a decade away with The Legend Returns.

I’m Ready to Talk Now, Traverse Theatre ★★★★

Alright Sunshine, Pleasance Dome ★★★★★