Review: Chronicle in Concert. “Later” for the Critics: The Chronicle in Concert Wins Us Over

A brilliant departure from the usual fare of full-scale musicals, MusT’s second iteration of The Chronicle in Concert was a gem. Rather than following a single cohesive narrative, the night unfolded like a playlist of pure joy, vulnerability, and artful storytelling, offering a more intimate experience that highlighted the vocal and orchestral talent of St Andrews' finest performers. The evening was an impeccable fusion of powerful voices, skilled orchestration, and a carefully curated selection of musical theatre’s most iconic songs.

ID: the cast and orchestra in rehearsal. Credit: Teigan Ferrie.

The venue itself—Laidlaw Music Centre—was the perfect setting for the intimate yet polished atmosphere of the concert. Its acoustics allowed every note to soar, crisp and clear. There was a softness to the lighting that felt almost personal, shifting the mood of the performance in ways that mirrored the complexity and range of the songs themselves.

The audience was greeted by a wonderfully executed rendition of Leonard Bernstein’s Overture to Candide, a spirited introduction that immediately set the tone for the evening. From there, we were swept into Comedy Tonight from A Funny Thing Happened on the Way to the Forum, a witty number that introduced the talented cast with flair and energy. If there was one minor hitch, it occurred during this number, where the orchestra slightly overpowered the vocalists, making it difficult to catch every word of the lyrics. However, given that the purpose of this number was more about introducing the cast than showcasing vocal prowess, this hardly detracted from the overall experience. In fact, the evening only grew in excellence from there on.

Producer Sarah Callahan’s insightful introductions before each piece were a thoughtful touch, providing helpful context for those less familiar with the shows being represented. Then came the performances themselves, and what a series of performances they were.

ID: the orchestra in rehearsal. Credit: Teigan Ferrie.

Emma Koonce’s rendition of Maybe This Time from Cabaret was nothing short of a masterclass in emotional vulnerability. Her performance as Sally Bowles was simultaneously delicate and defiant, a perfect embodiment of the character’s search for hope and reinvention. Kieran Moore’s performance of Later from A Little Night Music was equally poignant, his rich voice delivering Sondheim’s quiet, reflective lyrics with a subtle power that drew the audience into a quiet contemplation of time and longing.

But it was Jaz Williams’ performance of The Movie in My Mind from Miss Saigon that truly stunned the audience. While Harriet Edwards as Gigi was undeniably impressive, it was Williams who captured the room with her flawless vocal technique and emotional depth. Her portrayal of Kim, lost in a world of dreams and escapism, was breathtaking—a performance that left the audience in awe.

The night also allowed the orchestra to shine. Forget About the Boy from Thoroughly Modern Millie was a joyful, jazz-infused number that showcased the musicians’ talents. With lively brass and playful rhythms, the orchestra injected an infectious energy into the performance, making it one of the evening’s most spirited moments.

Ellie Trace, too, delivered an unexpected delight with her pitch-perfect patter singing in Ya Got Trouble from The Music Man. It’s not often you see someone handle the rapid-fire lyrics and razor-sharp timing required for patter singing with such effortless brilliance, but Trace’s performance was a masterclass in verbal dexterity.

In all, The Chronicle in Concert was a triumph for MusT, delivering a thrilling night of music that highlighted the incredible talent within St Andrews. It was a bold departure from their usual musical productions, and it paid off in spades. For those lucky enough to attend, it was a reminder that the musical talent in St Andrews is anything but small—it’s a force to be reckoned with.

By Emaan (she/her)