Daughter of Sweden – That One Princess Who Got Drunk with Lizzie I and Thrown Out of England, TheSpace @ Surgeons’ Hall.

Cecilia Saverman tells the extraordinary story of Cecilia Vasa, the daughter of King Gustav Vasa, who led a full life, crammed with adventure, romance, loss and – perhaps primarily – misogyny, as she spent her entire life at the mercy of her powerful male relatives. Briefly influential in the court of Queen Elizabeth I, Cecilia’s is a true battle for survival, and this excitingly written dramatic monologue really draws you into her vivid world, surrounded by the relics of her life, from her chamber pot to her coffin. Not only is this an excellent production, it also fills a gap in our general knowledge of this remarkable woman that no one in the UK will have heard of! Cecilia Saverman has marvellous storytelling skills and Daughter of Sweden comes highly recommended. 4 stars.

Only Fans for Therapy, Zoo Playground.

Sometimes you see comedians bringing a stand-up act which is a barely concealed device for them to come to terms with something awful that has happened to them – comedy as therapy; it’s quite common. But I’ve never come across it in other genres. In Only Fans for Therapy, Verona Verbakel sits, impassive, in front of a laptop, whilst we watch the events that unfold on her screen. This is a hard-hitting, very challenging, frequently uncomfortable account of one woman working through her response to being abused as a child. It’s not a play; it’s barely a live performance. It’s a sequence of video films, interspersed with one, short live scene. Everyone who experiences this performance will have their own reaction to it, which in part will be due to their own personal experiences. As such, it’s virtually impossible to “review” in the traditional sense. However, if you break it down, there are three elements here. There is the “story” itself, details lightly suggested because Verona does not feel comfortable sharing too much; there is the creative process, with consultations with her psychologist, her drama advisor and, when all else fails, ChatGPT. And there is the finished product, to be taken as an experience, a performance, an entertainment – however, you wish to define it. It may take you a considerable time to come to terms with Only Fans for Therapy; don’t rush it. 4 stars.

Good Boy, Hoots @ Hilton on Bread Street.

This was a new one on me. They say never work with children or animals, but Sorabh Dhir says phooey to that notion and does the entire show accompanied by his magnificent poodle Rocket. And Rocket’s not just an irrelevant background pet, he’s also an intrinsic part of the material – especially the big happy ending. En route, we discover Sorabh’s career to date; we also discover what AI really stands for, and the particular questions that need to be asked when an Indian man goes on dating apps. Sorabh has an engaging, enthusiastic style; he’s extremely likeable on stage and he builds a great rapport with the audience. He’s also got some fresh, original material, making this an entertaining hour of comedy. 3 stars.

Dogberry and Verges are Scared, C Arts C Venues C Aurora.

I’m not sure if Stoppard was the first to pick on two minor characters and make a full-length play of their offstage moments, but he’s certainly the most successful. Now, Michael Doherty and Will Mobley have kicked Rosencrantz and Guildenstern into touch and come up with Dogberry and Verges are Scared, those two lovable nonentities who keep the Watch in Messina in Much Ado About Nothing, and a more useless, feckless pair you couldn’t wish to meet. They’re huge fans of Hero (well, who wouldn’t be, with that gorgeous hair) and are gutted when they realise she’s died (and it’s all their fault). But of course, Hero lives, and after they have captured Don John, Dogberry and Verges can congratulate themselves on a job well done. Unlike Stoppard’s play, Dogberry and Verges are Scared is played purely for laughs, with the action and physical comedy ramped up to super-high, in an excellent production with a cast of six, some genuine scenery (rare at the Fringe!) and quality costumes. With co-writer Michael Doherty as Dogberry and Austin Tichenor as Verges, it’s an energetic, laughter-filled frenzy of Shakespearean proportions, with lots of wordplay – after all, Dogberry considers himself a blacksmith of words! Thoroughly entertaining fun for all the family. 4 stars.

Alfie Dundas: First Class Panic, Pleasance Courtyard.

There a quite a few posh boys on the comedy circuit, but Alfie Dundas reckons he’s the poshest. And he’s probably right. Fortunately, out of all his other posho rivals, he has the most comically astute material to illustrate his point, in this hour of beautifully delivered, drily wicked comedy. Alfie’s great comic gift is to maintain a perfectly poised straight face as he lands his killer punchlines, which somehow makes it all even funnier. There’s a lot of material about class, and going to Eton, where it was important to make friends with the people who would wield the nation’s power in the years to come. He also devotes a significant element of the show in memory of his late brother Louis, who died at the age of only four. If you think this is callous, he has various charts to prove that you’re wrong. This was our first time seeing Alfie but it certainly won’t be our last. An amazing new addition to the comedy scene. 5 stars.

Woman Seeking Cuddles, TheSpace @ Surgeons’ Hall.

On one of Harper’s dating apps there is the option to seek cuddles; but despite the title of Renwick McAslan’s one-woman play, cuddles seem to be the last thing on Harper’s wish list. True, it was unfortunate that she had sex with an older guy one night only to discover the next day that he was her father – how would either of them have known? Apart from him, we hear about Liam with the survival tattoos, needy Noah the actor, and another chap called Abraham, although I can’t recall many details about him. Call me heartless or cynical, but I found this an unpleasant piece of writing. It’s basically an hour of Harper moaning. About everything! She also has a condition – unsure if it’s mental, physical or what – of uncontrollably spitting; there is a glass screen on stage that she goes behind and regularly gobs on – and if you’re sitting right in front of her, as we were, it’s a pretty revolting spectacle. There’s also a very strong lighting effect behind that screen which is viciously blinding if you’re sitting in those front seats. But I think what I disliked the most was when one of the men in her orbit takes his own life and she just shrugs it off as one of those things. The production is saved, though, by an excellent performance by Hannah Strauss. But the play was not my cup of tea. 3 stars.

“Be Good!” with Paulette, Underbelly Bristo Square.

The best thing about the Edinburgh Fringe is being able to see shows that you would never normally see. A prime example of such a production for most of us I would guess is “Be Good” with Paulette – an hour in the company of Daniel Maseda’s comic creation. It’s an hour that genuinely defies definition, in that it’s a little bit of everything – clowning, crowd work, surrealism, and TED talk – that is, if you want to know how to walk on a stage or remove a cardigan. I would estimate that 90% of the full house were hooting with hilarity at Paulette’s antics, whilst the other 10% were stony silent. You know how it is – some art forms simply do nothing for you, whilst you’re still fully able to appreciate the skill behind the performance. If you like your comedy sophisticated, you’ll hate this. If you like madcap lunacy, nonsensical banter, and absurdist humour, Paulette’s the man for you. I’m awarding this an extra star for his sheer effort. 4 stars.