The Iranian playwright Nassim Soleimanpour is many things, some seemingly contradictory: a) a clever, poetic playwright who uses high-tech elements in his work to inventive effect; b) a mischievous presence who likes to appear in his own highly unusual plays; c) a man in pain who is traumatised by his self-imposed exile from Iran. 

Richard Gadd won an Edinburgh Comedy Award in 2016 with material about being sexually abused by a man, in a set called Monkey See, Monkey Do that he performed on a treadmill with a gorilla at his back. 

Many an Edinburgh Fringe transfer has struggled when it moves to the big city, but the Dirty Hare company’s Gunter, sensibly embedded in the Royal Court’s intimate Upstairs space, has settled in nicely, thanks.

Ahir Shah, Monkey Barrel

Ahir Shah is a fast talker, but then in Ends – which deservedly won best show in the Edinburgh Comedy Awards – he has a lot to say. It's a show about multiculturalism, family, identity, fitting in, and encompasses modern history on two continents, so he has a lot to pack in.

CHOO CHOO! (Or... Have You Ever Thought About ****** **** *****? (Cos I Have)), Pleasance Dome ★★★★

Distant Memories of the Near Future, Summerhall ★★★★

Janine Harouni, Pleasance Courtyard ★★★★

Dark Noon, Pleasance at EICC ★★★★★

Tennessee, Rose, Pleasance Dome ★★★

Clare Cockburn's new play posits the notion that all the women in Tennessee Williams' work were inspired in some way by his older sister, Rose, who spent most of her life in mental institutions after being lobotomised.

Adults, Traverse Theatre ★★★