The lilies are in place, a velvet curtain discreetly masks what lies behind, and the orders of service have been placed on our seats. But while death is the focal point of Shotput’s new show, the first three letters of the word ‘funeral’ loom largest. Dressed in dark undertakers garb, the first of many increasingly dazzling costume changes, Jim Manganello and Lucy Ireland welcome us to Totentanz (German for ‘dance of death’). And were it not for the American and Scottish accents coming out of their mouths, you’d swear they too hailed from similar territory. Because there’s something wonderfully European about this piece of dance theatre, with delicate notes of Pina Bausch or Derevo in the movement and structure, but with a warmth and wit all its own.

Their central quest (to find the perfect Totentanz) sees Manganello and Ireland deliver five separate routines, each in a different outfit. At times, you could almost be watching an episode of Strictly Come Dancing, especially when the sequin and feather-clad shimmying kicks in. But for the most part, their angular limbs, flexed feet and unexpected dips and dives are far more interesting than anything a uniform partner dance could offer. Musically and choreographically, these sections are highly entertaining and could probably carry a show on their own with some development. What’s so delicious about this new Glasgow-based company, however, is that dance is only half the banquet they offer.

As befits a funeral, we’re also served moments of reflection, lines of poetry, personal anecdotes, even outpourings of regret. Some are deeply poignant but most have the whole audience laughing with glee. Collaboration is at the heart of Shotput’s ethos, so it’s no surprise that everything here (from costume, set and lighting design to text, music and movement) has a fundamental role to play in Totentanz’ success. Death may be a prickly subject for most of us, but in the sensitive hands of this refreshingly maverick company, it’s somehow a little more approachable.

Totentanz tours until Sunday 15 October; reviewed at Assembly Roxy, Edinburgh.