'a bedrock of the Scottish theatre industry' The Guardian 'a major part of Scotland's new playwriting landscape' The Scotsman After running for fifteen years, the founding principles of A Play, a Pie and a Pint remain steadfast - a new play at lunchtime every week that lasts no more than an hour, accompanied by a pie and a pint. As well as producing thirty-three new plays per year, Oran Mor also biannually hosts its much-adored pantomimes for grown up kids - both Summer and Winter - which have become a staple of the Glasgow theatrical calendar. This first volume collects some of the most popular and critically acclaimed plays from the phenomenal back catalogue. Includes the plays: A Respectable Widow Takes to Vulgarity (Douglas Maxwell) Toy Plastic Chicken (Uma Nada-Rajah) Chic Murray: A Funny Place for A Window (Stuart Hepburn) Ida Tamson (Denise Mina) Jocky Wilson Said (Jane Livingstone and Jonathan Cairney) Do Not Press This Button (Alan Bissett)

Something has been put in the water. Things are about to get a whole lot crazy. And you decide how it ends... Smalltown is the new dynamic comedy written by leading Scots writers Douglas Maxwell, D.C. Jackson and Johnny McKnight. It tells the unexpected tales of what happens when a polluted water supply causes extraordinary events to happen to ordinary people - from Zombies in the frozen food aisle, to oversexed teenagers releasing the animal within, to a dangerous game of Russian Roulette on Girvan beach. The show has three possible endings. You, the audience, vote on which ending you want, making for a truly memorable evening of entertainment. Smalltown - expect the unexpected! A thrilling and downright hilarious rollercoaster of a show from the company that brought you the five-star Promises Promises and the Little Johnny trilogy.

'Mancub' is the beautiful and absurd story of a boy who seems to be turning into animals. Paul faces the usual struggles of growing up. Struggles for understanding with his father, struggles to work out what girls are about. But he also faces a more pressing problem. Reality seems to be shifting as the people around him begin to display the traits of certain animals. Stranger still are the changes he, and other people, see in himself. Does Paul really turn into animals, or does he only think he does? 'Mancub' is a collaboration between Vanishing Point and acclaimed Scottish writer Douglas Maxwell, whose hits include 'Decky Does a Bronco' and 'Helmet', both also published by Oberon. 'Mancub' opens in a magical new show for adults and children at the Traverse Theatre Edinburgh in May, followed by a UK tour.

Decky Does a Bronco is the tragi-comic story of a gang of nine-year-old boys who spend the summer of 1983 'Broncoing swings' in Girvan, on the west coast of Scotland. Broncoing (kicking the swing over the bar) is the social bench mark and a dangerous mixture of vandalism and sport. Decky is the smallest of the group and the only one who cannot Bronco. His friend David remembers the event of that summer, which at first seem hilarious but ultimately remain painful, as the boys are faced with an unthinkable tragedy and are thrown into a restless adulthood.

Our Bad Magnet is an unashamedly dark and deliciously funny play from one of Scotland's brightest young writing talents, in which the boundaries between fantasy and reality merge with unpredictable results. Centering on an uneasy reunion, Our Bad Magnet follows the progress of four boys from 9 to 29 as they try to unlock the secrets of childhood and memory. Throw in 1980s indie music, a ventriloquist's dummy, some magical fairy stories and the word 'nimston', and you have an hilarious black comedy which isn't afraid to make you think while you're laughing out loud.

It's Dougie's birthday. He just turned 50 and his family are throwing him a party. But it's he who has a surprise for them. A bombshell proposal. He wants his ex-wife Arlene to back his new endeavour. He wants to serve a good cause, a global cause. He wants to make right a terrible wrong, even if it puts their daughter's future at risk.

Based on La Nona by Roberto Cossa Yer Granny is a riotous new comedy about a diabolical 100-year-old granny who's literally eating her family out of house and home. She's already eaten their fish and chip shop into bankruptcy and now she's working her way through their kitchen cupboards, pushing the Russo family to desperate measures just to survive beyond 1977. As proud head of the family, Cammy is determined that The Minerva Fish Bar will rise again and that family honour will be restored - and all in time for the Queen's upcoming Jubilee visit. But before Cammy's dream can come true and before Her Maj can pop in for a chat, a single sausage and a royal seal of approval, the family members must ask themselves how far they will go to solve a problem like Yer Granny.

This collection of energetic, fun and emotionally honest, tragi-comic plays explore the turbulent journey from childhood through adolescence towards eventual adulthood. DECKY DOES A BRONCO 'One of the finest plays to emerge from a Scottish working-class story in the last ten years...the sheer force and depth of Maxwell's study of an end of childhood and an abrupt loss of innocence brings tears to the eyes.' The Scotsman 'A good deed in a naughty world... Ten years on, Decky Does A Bronco has lost none of its ability to excite the senses and stop the heart.' Sunday Herald HELMET 'Douglas Maxwell's impeccably observed little script transcends the everyday to tap into what moves the young and the troubled. The Glasgow Herald 'This extraordinary chronicler of youth.' Scottish Daily Mail MANCUB 'A near perfect encapsulation of the world of a troubled teen.' The Glasgow Herald 'A corker of a show that I'd urge everyone to see as soon as they can.' The Mail On Sunday 'Amazingly engaging...a must see' The List THE MOTHER SHIP Winner of the Brian Way Award 2009 for Best Play for a Younger Audience. TOO FAST Performed by 25 Youth Theatres in 2011 as part of the National Theatre's NT Connections Project.

Holding on to your virginity, getting a ring for your pains and something to believe in, that’s what Dawn, Rob and Fawziya want. Ozzy, their loser PE teacher needs to believe in something too. It will all be fine when the Miracle Man gets here. Won’t it?

“This is an excellent work. It is deeply researched, and the analysis of case law will prove very valuable to practitioners and academics seeking a synthesis of the law on an issue”. The Rt. Hon. Lord Justice Green, Judge of the Court of Appeal of England and Wales and Chair of the Law Commission “A valuable contribution to the jurisprudence on Article 1 Protocol No.1 and of much interest to both property and human rights lawyers” Professor Sarah Nield, University of Southampton “The pervasiveness of A1P1 through contemporary property law makes this a serious and comprehensive study. This book masterfully interweaves theory and doctrinal law. It is both timely and necessary for academics and practitioners working in this area.” David Sawtell, 39 Essex Chambers and Cambridge University This book provides a highly detailed, practical analysis of Article 1 of Protocol No.1 (A1P1) and its implications in the United Kingdom. A1P1 prescribes a qualified right to the peaceful enjoyment of 'possessions'. This right corresponds to a negative limit on legislators and public authorities to rationalise interferences with possessions and, where necessary, to strike a fair balance, often requiring just compensation. Through lively and rigorous commentary on the latest advances made by the European Court of Human Rights and domestic courts, The Human Right to Property enriches current understanding of the peaceful enjoyment of property since the enactment of the Human Rights Act 1998. Exploring the theoretical and political foundations of A1P1, the book guides the reader through the relevant case law from the earliest developments in Strasbourg to the present day. The Human Right to Property concludes that the most significant impacts of A1P1 are that it: forces States to justify interferences; limits radical redistributions of property; and casts a wider shadow over legislative choice and public body decision-making.

Tonight everything must go. Melody's got secrets - dirty, dark, and sick-to-the-bottom-of-your-stomach secrets that she's hidden away from for years. The tattoos up her arms tell part of the story, but the truth is a lot more complicated. John, the boyfriend, thinks he knows Melody, but he doesn't know the half of it. To him, it's just a question of presentation. Olive, Melody's irascible mother-in-law, thinks she knows all about it. She isn't afraid to put her oar in but she's got her version of events to hide. Ashley turns up at Melody's door on a mission to reveal everything. Only she doesn't know the full picture. The pressure that's been building up for years is about to boil over. "Melody" is a bitingly funny drama of a modern family's secrets and lies, reunion and revenge, and opens at the Traverse Theatre, Edinburgh in March 2006.

Helmet (a.k.a Roddy) lives his life completely immersed in computer games. The little time he has away from his consoles is spent in The Zone, an extremely low tech games shop, which has just this very day gone bankrupt. Sal, the down-trodden owner of The Zone, is left wondering where it all went wrong. At one time he was the pride of his family and had a bright future ahead of him. Now his wife hates him, his dad's going to kill him and to make things worse he's stuck killing time in his failed shop with Helmet, a pale ghost of a boy and exactly the type of operson Sal blames for his downfall. The shop is Sal's prison, but it's Helmet's church. As they get to know each other, hiding from reality for a while, it becomes clear that Helmet has a secret that could make things a lot worse for both of them. Helmet is structured in levels like a computer game, with each character having three lives and energy bars projected on stage. A production involving art graphics projections and effects goes on tour from March until June 2002, including performances at The Traverse, Edinburgh and the Soho Theatre, London.