One minute he's hopping around Starbucks impersonating a performance artist dancing in a graveyard, the next he's quoting Derrida: keeping up with David Leddy is not a challenge for the weak-hearted. Before the conversation's even really started, he's telling me frankly of his disappointment with the Royal Lyceum's Comedy of Errors - "they've got a big theatre, lots of money, why not do something interesting?" - and I can't help but find his whole attitude refreshing.

So what brings Leddy to Glasgow and his plays to the Arches? The short answer is love. Leddy's fallen for a Scot. The longer answer is an unhappiness with the London theatre world, where he has worked everywhere from the Riverside Studios and the ICA to a nightclub and a graveyard in Brixton. Now he is rehearsing, on his own, as writer/director/ performer, in a church hall squashed between a dance school and Alcoholics Anonymous (who think he's a bit weird, but brought him a cup of tea and homemade dumpling, which was nice). Describing staff at London theatres as "really vicious", he's emphatic about not missing the bright lights of the metropolis.

Leddy's one-man show, On the Edge, running at the Arches later this month, takes the murder mystery genre and gives it a thorough going over, he tells me. The publicity material dubs it "like Cluedo

on smack" and when questioned about this, he admits: "I wanted to put 'Cluedo's rulebook stuffed up Miss Marple's arse' but my father berated me, obviously visualising me shoving a book up Margaret Rutherford's ..." Enough said. In a nutshell, the play "pastiches murder mysteries … and at the same time deconstructs the politics of the genre". It is this mix of the humorous and the intellectual, the light-hearted and the political, which is striking in Leddy and perhaps explains his obsession with the murder mystery. After all, as he notes astutely, "clichés are repeated to such a degree they become detached from reality" so "even though it's about murder, we think it's an innocent form".

Leddy's background in performance art and his sense of comedy ensure that he fully exploits the possibilities a spoof murder mystery presents. What attracted him to this idea? "More than anything it was the voices," he says, and off he goes into a stream of camp impersonations. Every good murder mystery should have a musty old major with a secret tax bill, a butler, of course, and Leddy's own personal favourite, the "masculine old spinster with her golf tweeds".

If On the Edge does tickle Glasgow audiences, he'll take it on tour - as part one of a trilogy of plays which will "look at a form and deconstruct it to a degree, take a political angle". After tackling murder mysteries, Leddy plans to target rags-to-riches stories in Through the Night, questioning the assumption underlying them that we should all want to be really wealthy. To complete the trilogy, he'll take a swipe at "soul music and gospel - and mainstream and white culture taking it over" in Over the Top, centred on a "crazy old drag queen called Latoya Levine, the toast of Queens". With big plans ahead, he believes "Glasgow is the perfect place for the kind of work I'm trying to do". If it is a breath of fresh air he brings, he's more than welcome.