THE COMRIE Cabaret was the place to be this week for an excellent slice of some classic show tunes courtesy of Carnoustie Musical Society.
Taking place in the unprepossessing surroundings of the Comrie Hall in Carnoustie, I was initially concerned that perhaps this was not the best setting for belting out the classics.
However, the acoustics in the hall were deceptively good, and while it was small enough to feel intimate, it also provided sufficient room to truly appreciate the power of the chorus.
The programme is only around an hour and a quarter long, but is jam packed with quality singing, dancing and comedy turns from several of the company.
Things kicked off, literally, with an energetic and well-drilled tribute to Britney Spears, and was quickly followed by the junior members performing ‘One small voice’, Aimee Stanton’s solo work providing a strong counter-point to the choral harmony.
An entertaining rendition of ‘Sobbin’ women’ from ‘Seven brides for seven brothers’ from the male company merged seamlessly into a medley from ‘Miss Saigon’ with a fluid hat change.
More comedy came courtesy of Jo Fitzgerald with ‘Adelaide’s Lament’ from ‘Guys and Dolls’ about psychosomatic hypochondria and Gary Cavanagh added some visual humour with his wide collection of brushes.
Frank Sinatra made a reappearance as the company changed into Rat Pack mode for ‘Mack the Knife’, replete with scat-singing and some clever harmonising.
‘I remember it well’ from Gigi raised many a laugh with the conflicting reminisces of Rodger Brunton and Laura McKay.
The juniors seemed to revel in their medley of ‘Bugsy Malone’ tunes, and attacked it (and poor little Bugsy, who was manhandled by his female co-conspirators) with great gusto.
A fluid mash-up of Broadway and classic musical numbers from the vaults of Hollywood gave the company great scope to showcase their individual singing talents, displaying a strong vocal range.
The voices may have been given a brief rest, but Claire Smith and Lyndsey Ellen Faulkner gave a fluid and graceful dance interpretation of Debussy’s ‘Clare du Lune’ using a mirror.
The evening finished with a rousing and impassioned medley of songs from ‘Les Miserables’, and the company were on top form in their roles as incensed revolutionaries, with the highlight probably being ‘Do you hear the people sing?’