Lily Blumkin, Gilded Balloon @ Patter House ★★★
Lily Blumkin has always planned to be a big-time comic, she tells us. So when her parents downsized and asked her to clear out her childhood bedroom, she went through her stuff – photographs, toys and other oddities – to curate the future museum dedicated to her life and work.
Desiree Burch, Monkey Barrel ★★★★
Desiree Burch is a bundle of energy as she comes on stage and gives us a warning about the subterranean venue she’s in. It’ll get hot, the Taskmaster favourite tells us – but maybe that’s just her as she going through the perimenopause, and in The Golden Wrath she’s going to tell us all about it.
Lily Phillips, Monkey Barrel ★★★★
Lily Phillips is keen to tell us at the top of her show that she’s not that Lily Phillips. There’s no OnlyFans content in Crying but, dealing as it does with her experience of having a baby, it’s graphic in a different way. So strap in.
Jacob Nussey, Pleasance Courtyard ★★★★
Rob Auton, Assembly Roxy ★★★★
The stage is littered with 30-odd large white cards bearing words such as “love”, “believe” and “push”. Rob Auton comes on stage and tells us he’s CAN, a former motivational speaker, and in the following 60 minutes of CAN (An Hour-Long Story) we hear his tale.
Monstering the Rocketman by Henry Naylor, Pleasance Dome ★★★★
Alison Spittle, Monkey Barrel ★★★
Alison Spittle is fat, she tells us at the top of the show. But not as fat as she used to be. And that’s the premise of BIG, in which she describes why she has been overweight since she was eight years old and what led to the recent weight loss – “about an XL Bully’s-worth”.
There aren’t many comics like Eddie Pepitone any more – the veteran comic’s shtick harks to back an earlier age, pre-suitable for TV and Netflix specials. As the New Yorker says drily in his latest special, The Collapse, he was never going to be considered as a host of either a reality programme full of beautiful people or a smarmy late-night chat show.
Appearing at the Edinburgh Fringe has long been an expensive gig for comics. But while stand-ups may need only a microphone to ply their wares at the world’s biggest arts festival, the costs they have to bear – among them venue charges, accommodation and marketing – don’t come cheap, and are growing year on year. Many people attending the Fringe are unaware of its financial eco-system – but the majority of performers there are self-funding.