Zoë Coombs Marr appears on stage accompanied by Ava Max’s ‘Sweet But Psycho’. When she confesses her penchant for photographing random curbside vomit, she does little to dispel that label. But the punchline (that her phone generated a slideshow entitled ‘bon appetit’, interspersing snaps of romantic meals with these ‘pavement pizzas’) completes what is a bold, punchy, and entirely successful opening gambit. 

The remainder of the set revolves around Marr’s desire to catalogue each of her life experiences. First, she creates a timeline with Miro (‘it’s like an online whiteboard’), then turns to the more hardcore software of Excel. Even for those unimpressed by a well-organised spreadsheet, Marr’s ludicrously long, multi-page record of her personal history is a phenomenal bit of digital comedy. 

Though she avoids directly riffing with the audience, she does ask her crowd to participate in a bit of choose-your-own-joke stand-up from her endless online document, with tantalising titles such as ‘Cate Blanchett’. Although the quality of these tangents can vary (‘Cate Blanchett’ is, naturally, a corker), the overall set is scintillating. From formative literature (Ellen DeGeneres’ My Point . . . And I Do Have One) to toilet-dwelling frogs (yes, a reality in Australia), Marr is a comic delight. 

This review was originally written in 2024 for the Edinburgh Fringe Festival; Zoë Coombs Marr: Every Single Thing In My Whole Entire Life will be performed at The Howling Owl from Tuesday 25 February-Sunday 2 March, 6.30pm.