“Ghost Quartet” sounds like it could have been the name of a moody, critically acclaimed indie band in 2015 — the kind that would headline Coachella’s smaller stages or open for Mumford and Sons on tour.

So if you assumed “Ghost Quartet” was an edgy four-piece group taking over the Dairy Arts Center for a couple of weeks-long residency, like Adele in Vegas, but with fewer sequins and more existential angst, you’d be forgiven.

“Ghost Quartet” isn’t a band, exactly. It’s a genre-defying theatrical experience that engages all five senses. Technically, it’s a musical, but it doesn’t behave like one. Written by the singular Dave Malloy (of the Tony Award-winning electropop opera “Natasha, Pierre & The Great Comet of 1812”) and brought to life by Boulder’s own award-winning theater company, The Catamounts, “Ghost Quartet” is part concert, part storytelling session, part visit to a bespoke speakeasy and entirely unlike anything you’ve seen before.

Kicking off Friday at the Dairy Arts Center, “Ghost Quartet” will run through Feb. 8. The production marks the regional premiere of Malloy’s unconventionally unearthly show.

Known for its bohemian and boundary-shaking approach to theater, The Catamounts are Boulder’s award-winning champions of “theatre for the adventurous palate.” Since its founding in 2011, the company has staged everything from audacious contemporary plays to immersive, site-specific productions that have taken place everywhere from farms and golf courses to transit stations, open spaces, and, occasionally — like in the case of “Ghost Quartet” — a theater.

But the Carsen Theater at the Dairy won’t feel like a theater after director Amanda Berg Wilson and her crew are finished with it. The bare-bones, black-box space will be completely transformed into a makeshift whiskey bar with a warm boozy glow. The Carsen’s traditional tiered seating will be tossed out the window and, in its place, audiences will lounge on antique sofas and chairs, surrounded by the soft gleam of lamps and chandeliers.

“We’ve gathered an incredible collection of antique furniture — some borrowed from the University of Colorado’s Shakespeare shows and some pieces we purchased ourselves,” Wilson said. “The setting will feel like a mix between an eclectic salon and a wild, otherworldly living room.”

A salon experience wouldn’t be complete without libations. During the performance, whiskey and warm beverages will be passed out to audience members, creating a parlor-like atmosphere that invites guests to let loose, lie back and get lost in the experience.

“I’m really interested in theater that engages the audience and brings them into the experience alongside the performers,” Wilson said. “I’m no longer drawn to putting an audience behind a fourth wall and pretending they’re not there.

“There’s nothing wrong with that approach — it works for many stories — but at The Catamounts, we specialize in creating experiences that directly involve the audience.”

Wilson said the audience will be invited to engage with the production on multiple levels.

“We’re asking them to listen, not just to comprehend intellectually, but to experience it on a more sensual level — similar to how you might listen to music in a jazz club,” Wilson said. “That’s the kind of immersive experience we’re aiming for.”

At its heart, “Ghost Quartet” is a time-traveling sequence of songs that are connected by a common theme. It really defies easy categorization. Written originally as a concept album, the production unfolds in 23 songs, announced by the performers as if they’re spinning tracks on a transcendental record.

The stories span centuries and cultures. The plot finds four friends drinking whiskey in four interwoven narratives that span seven centuries in no chronological order. There’s a tale set in 14th-century Persia, inspired by “One Thousand and One Nights.” There’s a 17th-century fable bridging Germany and Japan. There’s a haunting 19th-century reimagining of Edgar Allan Poe’s “The Fall of the House of Usher.” And there’s a chilling 21st-century story rooted in a real-life subway tragedy.

The threads connecting these narratives are two

women who meet across lifetimes in various incarnations — sometimes as sisters, sometimes as mother and daughter — underscoring the idea that past lives can exist.

“The show explores the idea of certain souls circling one another through different lifetimes, which is a concept that resonates deeply with me,” Wilson said. “Like many people who reach middle age, I’ve experienced the loss of loved ones, and I find comfort and inspiration in the notion that we might meet again and again in different forms.”

The score — or soundtrack — spans a phantasmagoria of genres, from folk and gospel to honky-tonk, jazz and even electropop. While some songs are soft and lyrical, others dip into the cacophonous and experimental, creating a haunting and hypnotic atmosphere.

“I find the music to be made up of some of the most beautiful contemporary compositions out there,” Wilson said. “Particularly musical theater, you know, it’s… it’s a musical that doesn’t sound like your typical musical theater songs.”

The cast features four incredibly talented performers, led by Neyla Pekarek, a former member of the Grammy-nominated folk-rock band The Lumineers. Pekarek lends her powerful voice, cello skills and acting talents to the production, embracing her transition from folk-rock star to theater artist. Maggie Tisdale, a Catamounts company member affectionately nicknamed “songbird,” also brings her exceptional musicality to the show.

Jeejay Maccariella, fresh off the national tour of “Jesus Christ Superstar” as associate music director, joins the production as both a performer and a music director while exploring Colorado as their potential new artistic home. Rounding out the cast is Courtney Navarre, whose impressive vocal range spans everything from opera to rock, effortlessly embodying the versatility the show demands. Navarre is a vocal teacher at Boulder’s Parlando School of Musical Arts.

“All four cast members are incredible multi-talented performers,” Wilson said. “They sing, act and play instruments, truly embodying their characters. It’s a joy to see them bring this show to life.”

You’d think a star-studded cast, a complete set transformation, an award-winning musical score, and warm whiskey beverages would be more than enough to entice even the most skeptical theatergoer to “Ghost Quartet.” But The Catamounts aren’t stopping there. They’ve added an extra layer of charm to the Sunday performances at the Dairy.

“On Sundays, we’re adding in an extra layer of coziness,” Wilson said. “Antonio Laudisio, the renowned Boulder chef, will be joining us to prepare vegetarian paella, which will be served after the show. Tickets to the Sunday performances include this post-show community gathering, creating a wonderful opportunity for audiences to connect with cast and crew.”

It’s a delicious bonus for those lucky enough to snag a seat for one of these intimate performances — and an opportunity to engage in what Wilson believes is the most important part of the production: community.

“With immersive theater, that sense of community is even more pronounced,” she said. “It highlights the fact that we’re not just watching a performance together — we’re acknowledging each other and participating in the space as a group. At The Catamounts, we work hard to take care of our audience and make them feel welcome, warm and comfortable.”

Wilson added: “What I truly hope is that people leave feeling like they were part of something communal, something special and that they were cared for throughout the experience.”

Tickets for “Ghost Quartet,” $33-$58, can be purchased at the Dairy Arts Center. All tickets include whiskey and warm beverages. There are a variety of dates to choose from. Tickets to performances on Jan. 19 and 26; Feb 2 and the evening performance on Feb. 8 include a post-show gathering with the cast and crew with food and drink. This show is recommended for those ages 12 and older.