It’s an interesting concept that Adam Hills has come up with for his latest show, Mess Around. The ever-smiling and hugely likeable Australian - a longtime sellout hit at the Edinburgh Fringe but who has yet to make a broader breakthrough like his peers - is a past master of audience interaction, so why not ditch the material and make that the show?

Russell Kane, a thoroughly deserving nominee, was the surprise winner of the Edinburgh Comedy Award (ECA) - the bookies’ money was on young American Bo Burnham - with a show that explores his troubled relationship with his late father, a man with some very right-wing opinions on life and politics. Kane describes Smokescreens and Castles as “an elegy” to his dad, but it could equally be described as a riveting and frequently hilarious socio-political documentary on a working-class boy made good, the first member of his family to go to university and now making a living in the liberal arts.

Call a comic surreal and you hand him or her a licence to be as self-indulgent as they desire. Think of Vic Reeves, who long ago started believing that the mere proximity to one another of words like "bacon", "kazoo" and "Manama" was sufficiently hilarious to bring down the house. Ross Noble is, we are frequently told, a surreal comedian. His new show certainly contains enough references to "dwarves in sombreros" and "shaven suicide monkeys" to ensure that its title, Nonsensory Overload, comfortably adheres to the terms of the Trade Descriptions Act.

Celebrity Autobiography, like most of the world’s best ideas, is simple yet inspired. Eugene Pack’s creation, developed with Dayle Reyfel, was first seen in Los Angeles three years ago, then in New York and other American cities, and was a sellout hit at this year’s Edinburgh Fringe. Both creators, along with a bunch of actors and comics, appeared last night to read from various celebrities’ autobiographies. That’s all it is, folks.

It will come as no surprise that a critic should instantly become a fan of a comic whose debut show at the Edinburgh Fringe (for which Alun Cochrane received a Perrier Award nomination) was a show titled My Favourite Words in My Best Stories. Anyone who loves words is a hit with me - we’re ploughing the same furrow after all, just in different ways.

It takes a very talented comic indeed to warm the main room at the Leicester Square Theatre, a venue that is situated beneath a Catholic church and which, vampire-like, can suck the life out of even the most buoyant of audiences. Fortunately, Jason Byrne has enough energy to wake the dead or, in this case, a few hundred damp souls who have come in from a rainy London town outside.

Nowadays, stand-ups who can fill the Enormodome grow on trees. But once upon a time, before comedy was the new rock’n’roll, that sort of thing didn’t happen. Then David Baddiel and Rob Newman played Wembley Arena. It feels like a long time ago. While Newman’s career wandered off the map, Baddiel became exceptionally celebrated as, in effect, Frank Skinner’s straight man. He last did stand-up in 2003, and that was a corporate gig to a roomful of bankers he deliberately offended. Last night he stepped back before an audience to – as he more than once insisted - try out some stuff.

Felicity Fitz-Frisky and Hansel Amadeus Mannish (aka Laura Corcoran and Matthew Jones) describe their act as “twisted pop cabaret” but that doesn’t begin to encapsulate a show that expertly parodies modern music. An easy target, you think, but this duo bring real singing and musical talent, plus a deliciously bitchy touch to the subject.

I have a friend who loves telling jokes. One night he started a well-worn story: “Please,” he said, “if you’ve heard this before, don’t stop me – it’s one of my favourites.” I am always reminded of that evening when watching Les Ballets Trockadero de Monte Carlo – the Trocks to their many thousands of fans across the world – when they touch down in London on one of their regular stops. The jokes are great – the dance is pretty good too – and if the jokes are a bit familiar, well, that’s all part of the fun.

Mindful that Dara Ó Briain ticked off one of my colleagues for revealing a punchline of his in his show, I can lumber without fear into reporting Rich Hall’s outing at the Wilde Theatre, Bracknell, as punchlines aren’t really what his comedy is all about. Morose as he looks on TV, on this very early date in an exhaustive 63-gig tour over the British Isles between now and December - I mean, Cambridge, Taunton, Dublin on consecutive days, or Hartlepool, Dundee, Durham (what is he travelling in? A helicopter?) - Hall had the audience on his side within seconds of starting.