Stewart Lee’s Edinburgh show is ambitious and barbed, writes Jay Richardson Seemingly genuinely bewildered at some perceived slight by Fringe flavour of the month Bo Burnham, Stewart Lee introduced this work-in-progress show of new and established material with the now virtually obligatory warning that it wasn’t for us, a weekend crowd, and that some sections(…)

Reginald D Hunter’s latest offering doesn’t have the same insight of clever phraseology of his previous shows, writes a disappointed Julian Hall. After a delay of thirty minutes to the start of his show, due to missing his own alarm clock, Reg Hunter readies himself to play a gig, fully sober, to hundreds of “slightly(…)

Some deft story-telling and an eye for winning absurdity makes Paul Sinha’s Extreme Anti-White Vitriol a joy, writes Ben Clover. The title of Paul Sinha’s show comes from a radio confrontation he had with a senior member of the British National Party. Asked to comment after the far-right party changed their membership policy, the amiable(…)

Josh Howie’s Gran Slam is at times virtuosic, but something’s not quite right, says Paul Fleckney. For a show with such a wealth of jokes – and damn fine ones at that – it’s a bit of a mystery as to why Gran Slam doesn’t quite work. The premise is intrinsically amusing – the man(…)

For every Jason the Very Rich Tiger there’s a woman who lives in a shoe, finds Jay Richardson in his evaluation of Holly Burn’s oddball offering, Living and Dying. A decidedly varied hour of character comedy from the possibly unhinged Geordie, Living and Dying is daring, gloriously self-indulgent and quite unlike anything else you’ll see(…)

In his umpteenth Edinburgh show, Paul Foot proves he is still a master of unpredictable, surreal storytelling, and even manages to get away with brandishing a toy golliwog as well, writes Paul Fleckney. In London is Funny’s world-beatinglistings section (“Accurate, easy-to-use, thorough. Five stars” – Time Out), Paul Foot is invariably introduced as “you’ll either love him(…)