Some comedy acts flounder at the Fringe because, despite their talents, the unique skillset required to craft an hour-long show with satisfying set-ups and throughlines might be beyond their grasp. Not so with the already highly regarded Ania Magliano, who seems to think in structurally satisfying threads and punchlines that are Scotchgarded from the wear of repetition. 

She’s lost none of her verve in Forgive Me, Father. Beginning as a seemingly disconnected series of anecdotes about her new relationship status, disparate stories transform into a meaty reflection on female contraception, sexuality and commitment that digs deep into the 26-year-old’s hang-ups and insecurities. Even more than in past shows, she’s amplified her freeing physicality on stage, emphasising punchlines with little sidesteps and flourishes. And despite the chunky satisfaction of this hour as a full piece, her real skill lies in teasing out tiny details from her stories, from the dangers of super-powerful vibrators to a whimsical physical re-enactment of having a coil removed. 

Unlike plenty of other comics flooding the backrooms and basements of Edinburgh at this time of year, her story’s denouement comes not as a moment of disruption to her comedic timing but as a light-touch point of reflection that’s ultimately uplifting. With a tight structure, prodigious sense of flow and solid gag rate, Magliano is still breaking new ground. 

Ania Magliano: Forgive Me, Father, Pleasance Courtyard, until 25 August, 6.40pm; main picture: Rebecca Need-Menear.