Oh Hello! (Assembly George Square Studios, Edinburgh Fringe)

Charles Hawtrey worked with Will Hay, you know. And Groucho Marx. And he was directed by Alfred Hitchcock (albeit for just 15 seconds). These are career highlights for him, but of course the only thing he's really remembered for is the Carry On films.

Oh Hello! does for Charles Hawtrey what David Benson's Think No Evil of Us did for Kenneth Williams in that it brings to life a personality generally only known for their work, rather than as people. This is a revival of a play first performed by writer Dave Ainsworth many years ago, but which now has Jamie Rees playing the subject, and to greater success.

Rees has a striking resemblance to Hawtrey, and has his impersonation down to perfection. The look, the avian body language, the chuckle in his voice, the camp asides... it's like Rees is channelling the spirit of Hawtrey for the duration of the piece. There's a lot of hard work gone into studying his subject, and it pays off in spades. We're also treated to snatches of Kenneth Williams, Sid James, Jim Dale and even Barbara Windsor.

Wilde Without the Boy (Assembly Hall, Edinburgh Fringe)

On Tuesday, May 18th, 1897, the once celebrated, now disgraced socialite and playwright Oscar Wilde was released from prison after a two-year incarceration for gross indecency. Between January and March that year, Wilde had been permitted by the prison governor to write a letter to his erstwhile lover, Lord Alfred Douglas (Bosie), in an attempt at both catharsis and rehabilitation.

The fact he was only allowed to write it one page at a time, with each page being taken away on completion, meant Wilde was unable to read his 20-page manuscript as a whole. Neither was he allowed to actually send the letter to its intended recipient, but Wilde did get to take it away with him on his day of release from prison, which is the day Cahoots Theatre Company's Wilde Without the Boy takes place.

F*cking Men (Assembly George Square Studios, Edinburgh Fringe)

Joe DiPietro's F*cking Men is basically a sexually transmitted disease in theatrical form. Based upon Arthur Schnitzler's controversial 1897 play Le Ronde, it shows a cavalcade of ten gay male characters getting off with one another in turn, with one partner leading us to the next vignette, and so on. It's an x-rated game of Pass the Parcel.

Whereas Schnitzler's original was purely heterosexual (the whore and the soldier, the soldier and the parlour maid, the parlour maid and the gentleman etc), the idea of a relay race of sexual encounters lends itself much more easily to the gay scene in the 21st century, because that's how it broadly works. There is generally more promiscuity on the gay scene, with men picking up partners for one night stands as easily as swiping right or left on an app, or provocatively rearranging a towel in the sauna.

The original 2015 production of F*cking Men at the King's Head Theatre in London featured a larger cast of performers than this Edinburgh transfer, which sees three actors take on multiple roles throughout the 60 minutes. The play only tells tales where there are two to tango, so having three actors just about copes with the flow, but it's interesting to see how easily the performers flip from one character to their next, and how director Mark Barford has adapted original helmsman Geoffrey Hyland's dynamics.