Mum's Choir at SkyCity Theatre

A grand piano, a large Catholic family, a dollop of Kiwiana and a corpse are the essential ingredients for Alison Quigan's nostalgic tribute to the redemptive power of group singing.

Although they have gathered for a funeral, her family cannot resist the urge to burst into song. A late-night cup of coffee sparks off a snappy doo-wop version of Java Jive, and a passing reference to a sailor suit launches an exuberant burlesque of Shirley Temple's The Good Ship Lollipop.

The songs are delivered with gusto, and the repertoire is something like the playlist from Radio New Zealand's Saturday night request session. Big-band standards, soundtracks from classic movies and the occasional waiata are rounded off with excerpts from Faure's Requiem.

With seven well-drawn characters and a superb cast, the play effortlessly captures the tone of a New Zealand family preparing to bury their mother, and John Parker's set design underlines the claustrophobic quality of such gatherings. The superficial jollity of the occasion masks undercurrents of feeling that periodically erupt into family rows and moments of intense emotion.

With the emphasis firmly placed on the songs there is little opportunity to explore the deeper themes that are touched on by the drama. The entrance of a Maori grandson opens the possibility of a cross-cultural dialogue on funeral ritual but this does not extend beyond a few wistful asides about the crazy honkies.

The drama reveals a keen eye for the foibles of the Kiwi character, and the witty dialogue certainly hits the spot. But the play's devotion to the feel-good factor often seems to undermine the poignancy of the story.

This is most apparent with the relentlessly upbeat coda that greatly diminishes the impact of a moving scene, in which the coffin is removed from the stage and Alison Quigan addresses the audience directly.

The presence of an open coffin gives a sharp edge to the drama, although the play avoids the Six Feet Under-style of funeral humour. The comedy is closer to the Desperate Housewives' variety. Elizabeth McCrae brings the house down with her deadpan comments about the man who mows her lawn. McRae's fine portrayal of Aunty Nola provides an anchor for the uniformly excellent performances.

A cast of seasoned professionals displays impressive vocal talent and the ability to inhabit a menagerie of instantly recognisable Kiwi character types.

The production is unlikely to expand the demographic of the theatre audiences but it does deliver a warm and absorbing entertainment that will delight Auckland Theatre Company's regular supporters.