Dan March has led a seemingly pathetic life, which is also the basis for his comedy. The high-point of his existence was his appearance on Blockbusters, back when he was 18, and the unfurling of his life from there is his subject. This is partly a cleverly constructed set, and partly laughing with March at his repressed, sad existence.

One word: daft. There's no better way to describe Dan Antopolski's strange style of stand-up - a confounding mixture of one-liners, awkward laughs, comedy charts and rap songs. Yes, the man raps, and also has visual aids... This awkwardness creates a wonderful complicity with the audience, so everyone feels they're a little part of Antopolski's world. It takes a certain type of performer to pull of this sort of insane set, and Antopolski has managed to create a production that you're never quite sure you're enjoying until you walk out afterwards with a huge smile on your face.

Nothing quite says funny as well as guys in tights. And ukuleles. I can’t explain it but it works; there’s just something about spindly legs and the uber-cheerful strains of the ukulele that make me laugh. This show is all about the laughs, and is full of both the chuckles and the belly kind as the clowns from Zemblanity entertain and obstruct.

Russell Kane is a stand-up on the way to stardom. His recent TV appearances and credentials on the circuit are certainly paying off, with two shows in this year's Fringe and fantastic audiences for both. The fact that he is in two shows (both on for the full run) show his main comedy strength: he is ludicrously, ridiculously energetic. Before even beginning to critique this show, I definitely credit him with a lot of kudos for this mad Festival experience he has created for himself.

Crutches scatter the floor of the Out of the Blue Drill Hall like broken and discarded limbs; Claire Cunningham enters, examines, and explains them, and turns them into something beautiful.