FIVE hundred plays – and counting. Oran Mor’s Play, Pie and a Pint basement theatre has been running for 30 seasons over 15 years.

And to celebrate the achievement the upcoming season will feature, for the most part, a collection of greatest hits.

The new season, “packed full of drama, music and comedy,” will feature 20 plays in total.

And the reprises have been chosen via a People’s Vote.

“What was remarkable,” says producer Sarah MacFarlane, “was we actually received 500 votes, tying in perfectly with having produced 500 plays.”

So what’s in the season ahead, beginning February 11?

The run kicks off with a return of Tartuffe, by Molière and adapted by Liz Lochhead.

Moliere’s most famous comedy was written and first performed in 1664 at the fetes held at Versailles and was almost immediately censored by King Louis XIV, which reveals its real bite.

The following week sees the return of A Respectable Widow Takes to Vulgarity. Douglas Maxwell’s play features Annabelle strike up an unlikely relationship with her dead husband’s potty-mouthed employee, Jim.

It wasn’t too long ago that Oran Mor

enjoyed Spuds, by Andy McGregor, a fantastical Breaking Bad-inspired comedy involving middle-class David who mixes mouldy chips and Iron Brew to com up with a new designer drug.

But the following week we’re back to new plays, this time the curtain comes up on Coming Clean, by Alma Cullen.

It tells of how Barbara, who once willingly gave up her dead-end job to nurture the careers of husband and son sees her “perfect” home-making world crashes horribly.

March 11 sees the return of Anita Vettesse’s Ring Road, the story of 40 year-old Lisa who lures her brother-in-law, Stan, to a dingy hotel room in the middle of a ring road to carry out an unimaginable plan.

Then we turn to a new tale, The Scurvy Ridden Whale Men by Steven Dick.

The play features the bitter winter of 1836, which brings death, disease and destruction to the British whaling fleet locked into the Arctic ice.

Captain Reid and Peter are sole survivors of the tragic Viewforth.

Yet, while they recuperate in Mrs Humphrey’s house, a temporary hospital in Stromness, Orkney, this darkly comic tale reveals there is still worse to come.

Another reprise follows with Chic Murray: A Funny Place for a Window, Stuart Hepburn’s rewind on the life of the comedy surrealist will once agai star Dave Anderson. Who else?

Elvis, we learn the following week, hasn’t left the building at all because Morna Young’s Aye Elvis is set to return, the story of Doric Elvis impersonator Joan, her invalid mother and shattered dreams of one day making it to Graceland.

There’s a new play the following week, Lion Lion. Sue Glover tells the story of animal lovers George and Joy Adamson, who camped for decades in areas where humans were few, but dangerous wildlife teemed around them.

But when night fell, and they sat with a tilley lamp and a whisky for company, did they conduct themselves like civilised human beings? What furies and feelings surfaced under the stars?

Rob Drummond returns to Oran Mor on April 15 with a new work fresh from the laptop.

The Mack New tells of the demise of Charles Rennie Mackintosh’s venerable building, torn apart twice by fire.

Drummond’s play asks; “Should we save The Mack or just let it go?” Are there really things “more precious more beautiful - more lasting than life itself?”

The following week sees the return of Morag Fullerton’s cut down comedic version of Casablanca, a play which was forced staged in 2010 and has gone on to be performed at the Edinburgh Festival Fringe (twice), The Tron and in London, Paris and Barbados.

Then it’s back to new work the following week with The Origins Of Ivor Punch, by Colin MacIntyre.

Set in the present day and in the 1860’s on a remote Scottish island (based on the isle of Mull), the play asks how mythology “washes up against faith.”

“Tragedy and superstition hang over the characters like a mist as we meet the funny and irrepressible Sergeant Ivor Punch, and his friend Randy.”

May 6 also reveals another new play, Toy Plastic Chicken, by Uma Nada-Rajah. The black comedy is set in Edinburgh Airport where a toy plastic chicken is suspected to be a bomb.

A woman is screened for domestic radicalisation, while her interrogators decide to perform a violent and radical act of their own.

Yes, it’s based on a true story.

We move on to the classic Jocky Wilson Said.

Jane Livingstone and Jonathan Cairney’s very funny and provocative tale sees the darts star in 1979 and stranded in the American desert, coming to terms with missing his darts match – and all that has gone before in his life.

Next up is Simon McCallum’s new play, Cool Dads, a story about school football, parenting and impossible dreams.

It’s Saturday morning. First round, Under 14’s Scottish Cup and Angie, Danny and Graham take up their regular positions on the touchline to cheer on their boys.

But the real tension and aggression is taking place on the touchline.

The following week we go back in time to 2006 when Dave Anderson wrote mini-musical Tir Na Nog, the “ Land Of The Young” in Celtic Mythology, where, if you’re heroic, or lucky enough, you go never grow old.

Arguably the standout play of the season is David Ireland’s What The Animals Say.

Set in the waiting room for the Stranraer to Belfast ferry, two old schoolfriends bump into each other. Jimmy Culver is an out of work actor on his way to the biggest audition of his life.

Eddie Harrison is the captain of Celtic and one of the world’s most famous and controversial footballers. What happens next will change both their lives forever.

On June 10, Denise Mina’s Ida Tamson returns. Ida’s life is focused on rearing her late drug addict daughter’s two sons, Hasim and Johnny.

But when one son’s father The Flesher wants to take the boy to Cyprus, Ida has to act.

Dusty Won’t Play runs the following week, Annie Caulfield’s play is set in 1964 when the singer, on a tour of South Africa, refuses to play to segregated audiences.

And the final play in the season, running from June 24, is Peter McDougall’s Last Ferry To Dunoon.

The play features three characters sitting in a glass shelter on the pier during a blustery gale; waiting. Each has a story to tell about the seaside towns on the Clyde coast to the ferries took holidaymakers.

But the three gradually reveal more of themselves in the process.