The credit crunch might be biting everyone, but don"t tell Largs Operatic Society - they might stop putting on these brilliantly lavish productions.

Rooted in the imperialist malaise of the early 20th century, Franz Lehar"s "The Merry Widow" works best when played in period with its emphasis placed firmly on issues of class, wealth and moral hypocrisy.

Of course, it helps when there"s plenty of the kind of warmth, romance and laughter that we"ve come to associate with the productions of Largs Amateur Dramatic Society thrown in for good measure too.

The group certainly managed it back in 1959 - giving this production a certain rounded inclusiveness - and more recently in 1982 when Barrfields rang to the same classic songs.

Happily, the story is still perfectly preposterous with Pontevedro, a fictional Balkan country, boasting a national dance in the waltz, and a national drink in the finest champagne, not to mention the wearing of epic outfits at all times.

Unfortunately for such high society, this little hamlet is out of cash with its future solely dependent on retaining the fortune of Anna Glavari, the country"s richest widow, inside their borders. Thus they must hastily scheme to find a suitor for her - and she"s certainly not short of a few.

When Kerry McKechnie"s Anna makes her first appearance, sweeping down a vast staircase towards a bevy of tail-coated gents, we are reminded both of Marilyn Monroe"s performance of "Diamonds Are a Girl"s Best Friend", and of Madonna"s later tribute - thanks to the scenery, there"s little doubt that this is the tale of a material girl in a material world.

It is all finely judged and beautifully done too, finding its voice in Kerry"s impeccable rendition of the classic "Vilia"; in fact, it is her graceful performance around which the production revolves.

However, she is matched by Stuart Tait who encapsulates the incorrigible Danilov as that dandyish rake with a heart, and proves more than capable of producing the requisite soaring notes.

Elsewhere, would-be lovers Valencienne and Camille are played with quiet enthusiasm and no less dedication by Janine Millward and Andrew Park, both evidently giving their all to proceedings.

Great comic relief also comes from the likes of David Cameron"s Baron Zeta and veteran Jimmy Wilson"s bumbling Njegus, while Alan Maclean and Stuart Woodland ham it up perfectly as the diplomat guests vying for the widow"s cash in increasingly desperate fashion.

Throughout the show, many of the scenes prove a feast for the eyes thanks to some stunning sets and the choreography of Irene Cameron and Diane Mullen; in fact, it"s no wonder Pontevedro is in danger of going bust.

In particular, warmth and charm bubble through in a daring Act II, backed by a lovely setting with gorgeous costumes, leading on to the riotous visit to the hedonistic Maxim"s. In this, the chorus and dancers are at their vibrant best, while Musical Director Elmar Kennedy conducts the account with the lightest of touches, just as she has done before as the production hit the Barrfields stage in years gone by.

So, could we be returning to Pontevedro in another five decades?

As long as audiences are still enjoying it as much as tonight"s do, there can be little doubt.