You have to admire the ambition of a show called Every Single Thing in My Whole Entire Life, the latest from Zoë Coombs Marr, which she performed at this year’s Edinburgh Fringe and is now in its Soho Theatre residency. It’s an hour that takes on some big themes – sexuality, mental health, the state of comedy – while digging down into her life as she reaches 40, and has done something of a stock check.

In 2020, throughout the country, many people’s lives were affected adversely by an ever-present threat to our already fragile society. Though most got over it, many people still bear the cost every day, sapping them of energy, making them cough and splutter frequently, instilling a longing that it would just go away and stay away.

The show begins before the audience troops into the theatre; the walls of the staircase leading to it are plastered with images of Kate Berlant, its writer and performer; we file past her (sitting by the doorway with a sign saying “Ignore me”) and a long word-salad statement by her; and then, before she appears, we watch a film on the onstage screen in which – in arty black-and-white, quoting Stanislavsky and Oscar Wilde – Berlant preens and pouts and Looks Very Serious.

We’re in New York City, in an upscale loft apartment, with that absence of stuff that speaks of a power to acquire anything. There are paintings on the walls, but we see only their descriptions: we learn that the owner (curator, in his word) really only sees the descriptions, too, and that the aesthetic and artistic elements barely register.

It’s now Edinburgh Fringe transfer season in London, but here’s one they made earlier: Cora Bissett’s Fringe First-winning autobiographical play from the 2018 Festival about her time in 1990s indie band Darlingheart. Though the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.

Memory is a funny thing: it can get you through exams; it can comfort you or distress you; it can last a lifetime or go in an instant. In Sofie Hagen's case, her idiosyncratic one has provided material for her new show Bumswing, which started life at the Edinburgh Fringe and is now at Soho Theatre.

The Edinburgh Fringe does throw up some oddities – in comedy shows, of course, but also in its dishing out of awards. And so it was that Ciarán Dowd's marvellous Don Rodolfo deservedly gained the Edinburgh Comedy Award for best newcomer, even though he's an old Fringe hand. But as his previous work was as part of the sketch troupe BEASTS he was eligible for this, his debut solo show.

With Love from St Tropez was inspired by Shazia Mirza's visit to a beach in the south of France that had a nudist beach nearby – and it was just before the French government's ban on burkinis.

Kerry Godliman is such an affable and down-to-earth onstage presence that when she talks about whether she should move now that her area has upped and come – you can tell by the local baker making sourdough loaves – you think how much her neighbours would miss her.

What a day to open your political stand-up show, entitled State of the Nation, a few hours after Theresa May had announced a snap election. If Ayesha Hazarika needed any extra material, yesterday morning's events would certainly have supplied it.