GIVEN the momentous events of the last year or so in Scotland and Britain, not to mention Greece and the Middle East, it’s disappointing to find so few plays which look like they might have something to say to us about the world we live in.

Some individual shows look promising, though. Down and Out in Paris and London, supported by the Unity Theatre Trust, might strike a chord in foodbank Britain and, at the other end of our class-ridden society, Crash at the Traverse tackles the world of high finance.

Other likely-looking shows are The 56, about the 1985 fire at Bradford City’s football ground, Tony’s Last Tape — a bittersweet elegy for Tony Benn — and the political plays and post-show discussions from Theatre Uncut.

The comedian and activist Mark Thomas also returns to Edinburgh with Trespass­ — Work in Progress, which looks good, and 887 from Canadian theatre wizard Robert Lepage promises to combine theatrical excitement with political edginess.

Apart from individual shows, if you’re going to Edinburgh for the first time it’s worth trying the venues and companies which have track records of talent, innovation and quality control.

Check out the programmes for the Traverse Theatre, Northern Stage and anything at Summerhall. Polyphony by Daniel Kitson should be worth seeing and if you like dance and physical theatre then try Aurora Nova’s White Rabbit, Red Rabbit.

Avoid anything involving US high schools or the word “heartfelt.”

Finally, the Forest Fringe is always worth a visit. It hosts original and experimental multimedia drama which is hard to find anywhere else. This year, at their intimate theatre in Leith and at other venues, there are productions involving the iF (integrated Fringe) Platform, which brings performers with disabilities into shows.

They should be well worth watching.