It’s difficult to overstate the magnificence of Our Ladies of Perpetual Succour - for which you must drop everything in order to go and see one of the remaining five performances, whatever the cost.

The talent of the women involved in the adaptation of Alan Warner’s novel The Sopranos is almost unbelievable. Given the credentials of the team behind the production; Lee Hall - whose adaptation of Billy Elliot is a modern classic, music arranger Martin Lowe - Once, Mamma Mia, and director Vicky Featherstone of the Royal Court Theatre, London, it remains surprising just how superbly executed Our Ladies is.

The Sopranos is a seminal work of Scottish realism, and Warner a much-lauded national literary hero. Exactly realising the sacred and the profane, Hall’s adaptation imbues Warner’s choir girls with raw vulnerability and power - the all-Scots cast triumphantly portraying their core roles and those of multiple others, often the men who harass them.

The ballsy, imaginative girls have further weapons in their arsenal; effortlessly controlled voices, which, when deployed in harmonic unison are utterly disarming. Everything about this production conspires to make an inarguable statement: Our Ladies of Perpetual Succour is an entertainment par excellence.