If I Live Until I Be a Man, TheSpace on The Mile.

The historical event that we all know of as The Princes in the Tower is one of history’s more tragic yet strangely intriguing episodes. It’s hard to imagine how two brothers aged 9 and 12 could cope with being locked away for several weeks, completely ignorant of what’s happening in the world outside. Fortunately, they can trust that Uncle Richard will look after them until the time is right. Deliberately anachronistic, the production also recognises the fate of children throughout the world in war-torn zones. Rae Bell and Sophie Falvey play the two princes through a series of children’s games, sibling rivalry and the delusion that one of them, Edward, would eventually become king. It’s an excellent mixture of claustrophobic playtime and an uncertain future, performed with a child-like sense of fun and fear – it’s a clever, inventive idea that works very well.

F**king Legend, Pleasance Courtyard.

I’m not giving away any spoilers when I describe this as a show about a cis white straight man, written by a cis white straight man, performed by a cis white straight man. After all, that’s how Olly Hawes introduces his own show. It’s a dramatic monologue in two separate parts, delivered with fourth wall-breaking irony throughout. The first part takes us on a stag weekend that gets out of hand, and the second – I must confess I didn’t entirely understand the second, but I sense that’s the intention, as a metaphor for the destruction of the planet through climate change. The message, as I see it, is that the only people who are going to put it right are the f**king legends amongst us. An extremely innovative show, performed with unpredictable vigour, which leaves you with much to ponder about afterwards.

For The Love of Spam, Pleasance Courtyard.

I think if you were to ask most Brits what they know about Guam they’d look at you with the blankest of blank faces. Sierra Sevilla tells us so much about her home island, including its to-and-fro occupation by Japan and the United States, its languages, its culture and climate – and its love of Spam. Nothing to do with emails, the Guamanians would be lost without Spam, especially when the typhoons extinguish all the power; it’s their go-to comfort food. If this sounds like a bizarre basis for a show, you’re probably right; but Sierra presents her background, her life experiences, and primarily her LOVE OF SPAM so endearingly and positively that this is a pure delight and the surprise hit of the Fringe so far. And you’ll be desperate for a taste of Spam afterwards!

Yes We’re Related, Greenside at Riddle’s Court.

Bereavement can hit different people in different ways, as Purple Doors Productions’ Yes We’re Related shows with a mixture of the surreal and the silly. It’s one year since Sara and Saskia’s mother died, and there’s to be a party (yes really) to mark the occasion. Sara, Saskia and Mark (Saskia’s fiancé) haven’t seen each other since the funeral, but it’s clear that Sara hasn’t coped well. She’s living in a tent and keeps a captive squirrel, Gerald, at home, believing it to be the spirit of her late mother. Things can only get better, they say; but boy do things get messy first. Creatively written by Florence Lace-Evans, and with three excellent performances from Ms Lace-Evans, Eleanor Griffiths and Jack Huckin, this is a quirky, fun and unpredictable look at one way of handling grief.

Mary Mary Quite Contrary, TheSpace on The Mile.

A curate’s egg if ever there was one! Mary Whitehouse stalked the media sniffing out filth wherever she smelled it – and frequently when it wasn’t even there. In reality, she was a deeply religious, reserved woman who enjoyed something of a power fetish; in Francis Yorke’s imaginary rewriting of the Mary Whitehouse story, that wasn’t the only fetish to which she was partial. After a run-in with the DG of the Beeb, Mary is challenged to edit a documentary about Swingers, and what she witnesses and experiences has – shall we say – a very major effect on her life. I’m sure Mr Whitehouse would have been grateful. This isn’t a perfect production by any means, but, boy, can Mr Yorke write a showstopping tune! The show is full of truly engaging, funny and melodic songs, which do what a good musical should do – either drive the narrative forward or fill in our understanding of the characters. There’s one song in particular that’s gloriously sung about the challenges and sadnesses faced by a trans character and it’s stunningly beautiful. The story is a sheer flight of fantasy that’s as far from reality as it’s possible to be; and some of the scenes are clunky and underperformed. But I really loved the songs!

American Two in One Comics, Laughing Horse at the West Port Oracle.

Winging their way from New York and New Jersey come Chris Warren and Mark Henely to form a double-bill of American comedians for a late night show. Linked by the common factor that they both have gay dads – although that doesn’t play much part in the proceedings – they’re two likeable guys who bring good-hearted warmth to a chilly Edinburgh evening. Chris has a more structured set, with a series of separate stories and jokes, including the pleasures and perils of converting to Judaism at the age of 28. Mark has a more free-flowing style where comic ideas merge together over the course of his set; he takes on board the audience’s reservations (if they have any) about America, and we accompany him on a journey through a series of dating escapades. I felt that the small venue and audience limited the guys from showing us the full extent of their acts, but it’s a fun, friendly and cool way to spend a comedy hour.

Tales From a British Country Pub, TheSpace at Surgeons’ Hall.

Armed with just his guitar and the occasional backing track, Chris Sainton-Clark takes us on a musical journey to his local country pub in Norfolk to meet the typical customers whom we can all recognise from any pub. Lotharios, losers, smart-arses and therapists, they’re all there, as Chris treats us to a dozen or so superb comedy songs that he delivers with verbal dexterity and a real feel for traditional folk music. This is a much funnier show than you might imagine, and the audience were frequently howling with laughter. Terrifically inventive comedy mixed with superb musicality – a brilliant way to end the day.