Let us tell you a strange tale that did unfold someplace in the glum north o'the warld, where there lived a Man who could not stop eating, a Woman doomed to cook his meals and one 'inveesible child'. Told in a rich and saucy Scots dialect with physical verve, a wee dram of whisky to oil the way and a musical score that rolls in like mist over the hills, The Red Chair sees acclaimed Scottish performer Sarah Cameron steer us through a landscape of twisted reason, extreme compulsion and eye-watering complacency, where domestic drudgery happens on an operatic scale and a father's dereliction of duty reaches epic proportions. The Red Chair is based on Sarah's original book that had its first public reading as part of The House of Fairytales at the Port Eliot Festival. It lies somewhere between a Grimm's Tale, an absurdist ghost story and a parent's guide on how not to bring up children. There are elements of fairy tale here, in the story and its method of telling, and yet this is a dance of sorts, with its rhythms and its stresses, and language - a kind of heightened Scots - is pivotal to the piece: words bend and sway and stretch . . . a hypnotic experience.