For the past few years Russell Kane has mined much of his comedy from his fraught relationship with his father, now dead. It's a neat twist then to postulate his latest show, Posturing Delivery, on his relationship with "Ivan", Kane's entirely imaginary son.

If the first rule of being a novelist is to write about what you know, then the first rule of comedy is to be yourself. And in that respect Shappi Khorsandi starts with an advantage, as being herself means she's warm and likeable and the audience are instantly on her side. And when it comes to her material, she started in stand-up with another advantage, in that her parents had to escape persecution in Iran (her father is a satirist who upset the ayatollahs), and for a while the family were given protection officers when they moved to London.

Greg Davies strolls onstage to the sound of Fatboy Slim’s remix of Wildchild’s “Renegade Master”, the “44 year old renegade master,” as he drily observes. From there he initially dwells on middle age and the way his stomach has expanded. His manner is so genial that his gigantic size - 6’8” – is not especially immediate or imposing. Clad in jeans and a black T-shirt he achieves the rare feat, throughout the 90-minute  set, of being likeable and funny without ever utilising viciousness.

There must be something on the air; a few foreign comics (including Edinburgh Comedy Awards newcomer winner Daniel Simonsen) were performing in English at this year's Edinburgh Fringe and now one of them, Germany's Michael Mittermeier, has brought his Fringe show, A German on Safari, to London for a short residency at Soho Theatre.

Danny Bhoy is big in Scotland and Canada and huge Down Under, as they say, but is a surprisingly unfamiliar name to many. I'm not sure, other than a lack of a television presence, why he's not as well-known throughout the UK as he should be: he's an extremely affable, laidback Scot whose brand of observational, conversational comedy is easy on the ear.

Kevin Bridges, an affable young Glaswegian, has had a meteoric rise in comedy. He started gigging at 17, made his solo Edinburgh Fringe debut in 2009, where he played in a 50-seater and earned an Edinburgh Comedy Awards newcomer nomination, and returned the following year to a sold-out run in a 700-seat theatre.

First a confession: I've never been a great fan of Michael McIntyre. He's a nice bloke for sure, works at his craft and is a slick performer with a huge following, both live and on television. Plus - and this is one of the best compliments I can pay to a stand-up because it's a difficult skill to pull off - he's one of the best MCs in the business. But I can't get past the feeling that some of his material, to borrow shamelessly from another context, has the whiff of previously used about it.

John Cage is funny: this much we know. The deadpan prankster at the heart of 20^th-century artistic experimentalism was always about the inadvertent punchline, the chuckle that comes from unexpected disjunction, the relief that comes from reminders of the absurdity of reality, as much as he was ever about any engagement with progress, technology, the transcendent. It's entirely natural, then, that Stewart Lee (pictured below), who has spent his whole career reaching outwards from the comedy circuit towards the avant-garde, should want to present his work.

James Acaster: Prompt, Pleasance Courtyard ***

James Acaster has certainly been studying his craft since he made his Fringe debut with an unmemorable show last year, and it shows in Prompt. Lots of comedy tropes are utilised, some of them to great effect, while others feel simply mechanical. He uses repetition, callbacks, audience participation in a show full of whimsy and the most surprising subjects for comedy.

Tony Law: Maximum Noonsense, The Stand 

Tony Law, Canadian by way of Trinidad and Tobago, has been kicking around the comedy circuit for several years with a style of madcap humour that many have delighted in but others have found self-indulgent. But with Maximum Noonsense he has retained all the free-flowing joy of his comedy while reining in some of the slacker elements. It's a marvellous concoction of silliness and sly humour.