IT’S probably no concidence that the story of Ghost – a smash-hit film, and now a mighty blockbuster musical – dates from the same period as Tony Kushner’s great millennial fantasy, Angels In America.

THIS week the Tron offers two memorable personal journeys set against the background of war. In Edinburgh, meanwhile, don’t miss Lee Hall’s powerful tale of working class artists.

SOME CALL it “post-human” theatre, the shift towards making objects and images stand where human beings once did.

SECTARIANISM in Scotland: it’s a long story, not over yet. And if theatre is an artform made to allow communities to act out their deepest conflicts and tensions in a safe space, then there is no richer subject for Scottish drama than the nexus of half-remembered history, fading faith and fierce tribal identity that hangs around the old division between Catholics and Protestants.

NOT many people know this, least of all in Scotland itself; but nonetheless, there are probably now few countries on earth where the quest for the new, in the next generation of theatre, is pursued more intensely or in a wider range of ways than in Edinburgh, Glasgow and beyond.