A couple stop at nothing to secure their first home in Johnny McKnight’s deliciously fast-paced production of Philip Ridley’s Faustian black comedy

Johnny McKnight’s snappy revival makes us all complicit in Philip Ridley’s satire on capitalism and consumerism

Four girls gather around a pentangle in Maryam Hamidi’s punchy and poetic new play, which captures the vulnerability of adolescence

A hazily defined relationship makes it hard to fathom the squabbles and romance in this wordless show inspired by 1940s French cinema

Impossible ideals unravel in a demanding but funny two-hander with a standout turn from Eilidh Loan

Inspired by stories of her father’s youth, Eilidh Loan’s vibrant debut tackles race, sexuality and illness – and is as funny in execution as it is serious in purpose

The climate change meeting inspires a production emphasising the land-grab aspects of Shakespeare’s late play in an imaginative staging

A trip to the gym for some metaphysical exercise opens the Tron theatre’s fascinating series of experimental audio dramas

In this exquisite film we go backstage at Glasgow’s Tron to hear and see the poet’s work performed with beguiling theatricality

They fill the coffers, nurture audiences and enable venues’ other activities. Pantomimes are pivotal for the UK stage industry – a year without them could be catastrophic

Sharon D Clarke, Robert Hastie, Michael Buffong and more share memories of the theatres that welcomed and inspired them

Kafka’s story is given a chilling update that chimes with our times, referencing the migrant crisis, the gig economy and fear of the unknown

Jemima Levick revives this tale about three sisters coming of age with wit and charm

Pantomime legend Johnny McKnight does his usual festive double, starring in Mammy Goose at the Tron in Glasgow – and writing Sleepin’ Cutie at Macrobert, Stirling

The detached acting in Rob Drummond’s horror-flecked melodrama render it less than the sum of its parts

A vulnerable James Young and a defiantly sexy Amy Conachan star in this outrageously funny comedy of manners, writes Mark Fisher