Sarah Callaghan: 24

If the Fringe is any kind of reliable metric, an increasingly evident trend in comedy in recent years has been the idea that a standup show should be built around an overarching theme or narrative. When this fails, it can leave a performance feeling superficial or clunky, with good material forced to fit around a tenuous foundation that doesn't really support it. But when it works, a central idea can propel a performer towards greater ambition, forcing them to ask questions about themselves and what they want to say.

Sarah Callaghan's new show is, for the most part, an example of the latter. This is all the more surprising, given that its title refers to those dubious self-help maxims that aim to change your life in 24 hours. Exploring the gulf between the idealism of these instructions and her own experiences, Callaghan is imaginative enough to recognise the potency of her concept, but smart enough to make sure it rarely gets in the way of her actual comedy.

Using her game plan for self-improvement as a spring board to examine her existing, unimproved life, Callaghan presents an hour of autobiographical reflection without ever giving into the narcissism that unconsciously dominates so much standup. She can make the domestic feel epic, and the dramatic seem silly and relatable. As her story weaves towards an unexpected (and briefly gruesome) conclusion in Paris, Callaghan rescues romantic comedy from cliché – by showing herself a little sympathy, she wins the same—and, just as importantly, laughter—from the audience as well.