In Harriet Richardson’s hilarious ‘Creep,’ an unhinged slide-deck investigation turns everyday cyber-espionage into an artful, five-star communal confession.

With a soaring alto and gothic disdain, Katie Norris transforms a critic’s insult into Mother Succubus, a razor-sharp, musical study of modern dating horror.

In White Lies, Fiona Allen elevates suburban misanthropy and petty subterfuge into a wry, Alan Bennett-style study of middle-class dinner-party evasion.

Vocal prowess meets nineties nostalgia in Hajar, Like Badger, Hajar J Woodland’s soulful, funny musical coming-of-age study of faith and identity.

At the Edinburgh Festival Fringe, Twitter’s unofficial poet laureate trades big belly laughs for gentle charm, delivering an understated, wryly clever hour.