'When I began writing the story, my idea was that it was for children. In the very best tradition of fairytales and myth, it was always going to be dark,' says Sarah Cameron, writer and performer of The Red Chair. 'When you deconstruct Cinderella or Hansel & Gretel, for example, the predicament of the child is pretty grim.'

Although Cameron draws on her Scottish childhood for the show, using both Scots language and the enchanted atmosphere of fairytales, The Red Chair is produced by Clod, an ensemble known for its bracing, intelligent and mature productions. This intriguing tension lends The Red Chair a mysterious and challenging dynamic.

'The Red Chair begins like a fairytale – the baroque and cartoon structure of the story creates a safe space, from which we can explore the darker aspects of the human condition,' Cameron continues.

The fantastic plot – which features a father who eats until he becomes the chair he sits upon and an invisible daughter – is unfolded through a complex monologue, revealing both the influence of Scots' poetry and Cameron's training at the influential Lecoq school. Before spring arrives, The Red Chair revels in the darkness at the edges of reason.

Tron Theatre, Glasgow, Fri 3 & Sat 4 Mar; then touring Scotland