And as you would expect of the Play, Pie and a Pint series, there's a show on offer for every sensibility.
But as always, the new season starts with a comedy and this time around it's Faster, Louder by Steven Dick.
Former art student Steven gave up the world of ceramics to become a stand-up comedian and writer. Now he's come up with a play, which tells of how an ill-advised Twitter message sent to a humourless celebrity musician sparks a 'riotous chain of events.'
The following week, Rab C Nesbitt writer Ian Pattison returns to the Oran Mor stage, following his huge success last year with his bioplay of Scots psychiatrist RD Laing.
He's gone back in time once again, but this time to Ireland in 1922 to biography Michael Collins.
Collins became a divisive figure in Ireland because he was a signatory to the peace treaty with Britain.
And now as he returns to West Cork where he grew up, his live is in danger from those opposing the treaty with Britain. But Collins had his own reasons to be in West Cork. And those reasons changed Irish history.
The third play in the series, Miss Shamrock's World of Glamorous Flight by Martin Travers, is a 'warm character study' telling of Swish Air hostess and whirlwind Miss Shamrock, reminiscing and preparing to fly to Boston.
But little does she know this will be her very last day of glamorous flight.
The Monday of September 22 sees Sylvia Dow's It's Only Words take the stage, a serious play exploring themes of ageing, loves and loss.
It reveals the story of Mrs Moore who has locked herself in a public toilet cubicle where she reflects on life, love, libraries and literature.
Why is Mrs Moore in the toilet? And what's taken her to this point in life?
The following week writer/actor Lesley Hart returns to Oran Mor with her quirky, surreal play Flame Proof,
We discover Lyssa's ex-fiance is getting married in the morning. And while it may not be her wedding it will sure as hell be her big day because Lyssa wants to create mayhem.
From surreal comedy to drama on October 6, Mary Barbour's Daughters is set in 1915 and AJ Taudevin's looks at the legacy of Mrs Barbour who led 20,000 women in the Govan rent strikes
The play incorporates workers songs, "charting a personal history of sisterhood, solidarity and betrayal interwoven in a social history of women's resistance in Glasgow."
The next Oran Mor play, running October 13, is comedic, but with dark tones. Squash, by actor/writer Martin McCormick, reveals how bad boy bike thief Paul is held in a flat by a mother and son pair. But does the punishment they dole out fit the crime?
Meanwhile, Crash, by Andy Duffy, asks very clever questions of what we are all capable of. How much can we blame tragedy for our actions? When one man suffers the impact of the economic crash - and a car crash - his life unravels. But are they just excuses?
Jack Dickson's new play Flying with Swans (October 27th) is a rather more gentle story, of relationships, ageing and friendships told through the voices of three elderly ladies who get together for the first time in many years, for what should be a simple ferry trip to the Isle of Arran. Instead, it becomes the journey of a lifetime.
And from gentle, the Play, Pie and A Pint series becomes rather more bonkers with Catherine Grosvenor's The Happiest Day of Brendan Smillie's Life. Brendan Smillie leads a quiet life, closely monitored by his protective older brother, Liam. But Brendan has a secret Liam knows nothing about - he's getting married. Why is Brendan keeping the identity of his partner secret?
The following week's Play Pie and a Pint offering is Flower, Bird, Wind, Moon, a story inspired by writer Paddy Cunneen's trip to Japan to study traditional Noh Theatre.
And then it's Theatre Uncut turn to produce the November 17th offering, commissioning five writers to come up with short political plays, all performed on a single theme.
The season rounds of neatly with The King's Kilt, by Rona Munro. This irreverent comic history tells of how an American academic finds a lost diary of Walter Scott's under the floorboards of his Edinburgh B&B. And we learn in 1822 Walter Scott himself is preparing a reluctant Scotland for the arrival of their monarch, George 4th. But to greet his Scottish subjects the King must have a kilt. However, getting him one becomes an almost impossible task as Edinburgh's best kilt maker flatly refuses to make it.