The sublime decorates the mundane. So sing the star-crossed lovers at the centre of Isobel McArthur’s new opera-themed farce, set in a former theatre and cinema repurposed as a soulless, Hilton-style hotel. This show has a conceit which is impossible to relay without making it sound like it would be really irritating. A musical comedy in which more and more of the characters start delivering their lines in song, anyone? What about one in which we’re gradually invited to realise the magical power of classical music. No? 

But it all comes off brilliantly, thanks to a genuinely funny (and in places filthy) script and uniformly excellent performances, including an understated female lead in Karen Fishwick. She plays Amy, a hospital porter who falls for error-prone, earnest new staff member Aaron (Ali Watt), after he becomes besotted with her singing voice without realising who it belongs to. 

The plot spins off in multiple directions from there. Without giving too much away, there’s a nicely poetic, supernatural sub-narrative and some great turns from a compact supporting cast possessing formidable chops. Throw in some smart pokes at soul-crushing, service-sector labour and you’ve got yourself a winner.

The Grand Old Opera House Hotel, Traverse Theatre, until 27 August, times vary.