Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.

‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.

Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.

Family monsters: Christine Irvine reviews Oliver Emmanuel’s dark, tormented play about an estranged mother and daughter.

Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.

Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.

‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.

Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.

All change: Christine Irvine writes on the shape-shifting theatrics of Pamela Carter and Stewart Laing’s exploration of change.

‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.

‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.

Last year’s model: Christine Irvine writes on attitudes towards technology in National Theatre of Scotland’s trilogy of tech-inflected dystopian shorts.

‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.

‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.

Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.