It’s quite a leap to equate the ending of The Dark Knight Rises with the inexorable death of the UK’s high streets but it’s just one of many wonderful juxtapositions made here by Christopher Macarthur-Boyd. He’s particularly fascinated by the vastly different ways that people view the world. These range from cultural gulfs (such as those between Scotland and the US) to the experiential discrepancies between men and women. His burgeoning empathy has taught him to cross the road when walking home late at night to avoid unsettling lone women, and he details his awakening with sensitivity and sweetness. In almost every situation he is the butt of the joke.
 

Some profitable time spent with an American comic has gifted him much material on those intercontinental differences, notably a pitch-perfect gag about US gun culture. Back on this side of the pond, the Glaswegian has a ball when questioning Edinburgh’s fast-changing literary legacy, strongly hinting that the delinquent Trainspotting may soon return to the capital’s firm embrace.
 

Now a ten-year veteran of the comedy scene, it’s a wonder that Macarthur-Boyd hasn’t quite broken through to the big time, but it can’t be long. He’s a self-effacing bundle of charm and it’s a joy to spend time in his company.
Christopher Macarthur-Boyd: Scary Times, Monkey Barrel The Tron, until 27 August, 7.15pm (plus 24 August, 11.55pm, 27 August, 1.55pm).