The George Santayana quote comes to mind when assessing Matt Green’s outlook in Bleeding Funny: that “those who do not remember their past are condemned to repeat their mistakes”.

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Living in London and out and about on her motorbike most days, performance artist Gemskii has a knack for accumulating parking fines, at great cost.

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Teatime television’s most cherished asset accepts an invitation to return to the Fringe, choosing to share stories from one to one conversations he’s had during a distinguished education and career in broadcasting and politics.

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A small cast of morphing characters achieve with honours, in this well-received genre-hopping screwball comedy.

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Fringe debutant Dag Sørås saunters in from Norway to present his own insouciant brand of political stand-up, proving himself well worthy of an upcoming tour support spot for Doug Stanhope.

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Gary Delaney makes his the Fringe debut with a well-received assault of taught one-liners, the stand-up equivalent of junk food.

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In spite of its modest proportions, the ukulele may well be the most visible musical instrument at this year’s Fringe; in the acts of numerous stand-ups, hung in music shop windows and with its own dedicated open mic.

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As darkness descends on Edinburgh, out of the shadows emerges Toby Williams’s Dr George Ryegold, sole rival to Loretta Maine for the distinction of ‘most terrifying character at this year’s Fringe’.

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Pippa Evans’s angsty US country rock diva alter-ego Loretta Maine returns to the Fringe armed wtih her backing band, the charmingly named ‘Dog Vagina’. With an hour-long spot, a powerful set of lungs, mean and moody (but comedic) songs about hate and an attitude that make Courtney Love look like a wall flower.

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With an enriching score and some special effects, performance poet Ross Sutherland presents a compelling memoir of a recent chapter in his life. One that really resonates.

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