Aaron Calvert: Declassified (Lost Luggage Productions)
This show is mesmerising. Hypnotic even. Former doctor Aaron Calvert is a confident performer, in total control of his audience and incredibly skilled at manipulating us. This goes beyond rabbits in hats and card tricks to offer something even more impressive - mind reading - before culminating in a mass hypnosis session. Not everyone will succumb, but those that do become the stars of the show. It's easy to be cynical, but seeing is believing as participants conquer their fears, converting negative emotions into positive ones before our very eyes. Given that this show is all about the power of suggestion, and the ways it can be used to change our lives, I suggest that you see this immediately.
Gilded Balloon at the Museum, until 26 Aug.
tw rating 4/5 | [Andy Murray]

COMEDY

Chris Henry: Around The World In 80 Dates (Chris Henry)
It's around the room in 80 jokes. In an effort to create "a balanced relationship", Henry makes the first ten minutes all about the audience, delving into our personal circumstances. His bantering with the crowd is impressive but, like many online profiles, this show isn't quite as advertised. The "80 dates" in the title is more a list of ideas for dates he'd like to go on, while the rest of the show reappraises rom-coms, considers dating apps and offers insights into his last relationship. Some of the show could even be regarded as an advertisement for himself, as he appeals to the audience for their company. If you're looking for a fun and frothy show, this could be The One.
Underbelly Bristo Square, until 26 Aug.
tw rating 3/5 | [Andy Murray]

Lead Pencil: Sex, Drugs And Toilet Roll (Lead Pencil)
Ever wonder what happened to your favourite childhood telly presenters? That's the basis for this high octane show, setting the scene for a series of sketches, songs and even an investigation into what happened to co-host Mr Sausage. There's also fighting, outbursts and innuendo - like Rod, Jane and Freddy at their most outrageous. You can't fault the energy invested in this show - clearly they're giving it their all and loving every minute - but the script isn't particularly original. They joke about ripping off songs and second-hand plot twists, despite featuring both. Like a lot of kids' TV, it's brash, in yer face and occasionally incomprehensible, meaning that, at times, you may find yourself reaching for the remote.
Underbelly Cowgate, until 26 Aug.
tw rating 3/5 | [Andy Murray]

Raymond And Mr Timpkins Revue: Ham (Brett Vincent for Get Comedy)
Music fans – prepare to have your favourite songs twisted into new shapes. This is like musical Dingbats for people with short attention spans – a high-speed conveyor belt of song snippets whizzing past, and this quick fire approach ensures that even if you don't laugh at one, you will at the next. It's so slick and stylised, you wonder how they can keep it up. There is some padding, with a silly, cartoonish storyline providing the filling in this musical sandwich, and it's all very 'Carry On' - Mr Timpkins is reminiscent of Charles Hawtrey, and his rivalry with Raymond is hilarious. There are misheard lyrics and even some satirical swipes amongst lavatorial gags. Sublime.
Pleasance Courtyard, until 26 Aug.
tw rating 4/5 | [Andy Murray]

Russell Hicks: A Fist Full Of Ideas (Russell Hicks)
A fist full might be overstating it. Only once or twice does Hicks dip into his notebook for new material, and even then, the temptation to chat to the audience proves too strong. Some comics don't really need material though, and he succeeds in weaving comedy gold based on the people in the room. Rather than using us as hooks to hang his gags on, however, he seems genuinely interested. In terms of routines, Hicks alludes to his alcoholism, his accommodation and the difficulties of forming relationships later in life. He is a fascinating character, visibly bruised by life, yet he ensures that the focus is firmly on us. This is just the beginning – it'll be interesting to see the finished product.
The City Café, until 26 Aug.
tw rating 3/5 | [Andy Murray]

DANCE & PHYSICAL THEATRE

Sowhereto Africa (Njobo Productions - FKA After Freedom Productions / African Connections CIC)
I wasn't sure I'd be well-placed to review a show like 'Sowhereto Africa', as I had next to no experience of these dancing and music styles. But I think that's exactly the point of the show; it brings something to the UK that you don't see a lot of here. And you can't deny the sheer energy and power of this performance - I was drawn in by the dancing, especially the gumboot, and these performers have RHYTHM. My only criticism is that the show never quite decided whether it had a storyline or not. Now I find myself looking at Youtube videos of Sbujwa and Pantsula freestyle dancing, so maybe this will become my thing after all.
Dance Base, until 26 Aug.
tw rating 4/5 | [Ela Portnoy]

THEATRE

In Loyal Company (Lab Rats)
David William Bryan, who last year presented an alcoholic binman in 'Trashed', returns with a new solo play that tells the story of his uncle Arthur Robinson, a soldier captured by the Japanese army in the Second World War. The script, written in collaboration with Sascha Moore, is performed energetically, and Bryan's Robinson has a wide-eyed innocence that draws our sympathy as he heads toward the front line. It's a shame that, in trying to capture a flavour of those times, the play sometimes strays into ugly territory. Talk of "shooting the Japs" is jarring but, I suppose, may be nigh-on inevitable; describing a brother's bringing home a German-speaking Czech wife as "stealing from the enemy" is pitiful.
Pleasance Courtyard, until 27 Aug.
tw rating 3/5 | [Alexander Hartley]

It's True, It's True, It's True (Breach Theatre / Untapped By Underbelly and New Diorama Theatre)
In 1612, the painter Artemisia Gentileschi endured a seven-month trial, during which her claim to have been raped by Agostino Tassi was subjected to every kind of prejudice. This play ingeniously turns the court transcripts into verbatim theatre. It's made to work beautifully; only when the writing ventures out on its own does it ever feel remotely unsteady. Still, it's true: this is a beautiful, tender, captivating piece, impeccably staged and with high-powered performances. It's true: these documents and their records of injustice call out across four hundred years of history to our present day. It's true: this piece affirms the power of theatre to form these dialectical images, to ignite these constellations.
Underbelly, until 26 Aug.
tw rating 4/5 | [Alexander Hartley]