“Tintypes” is a trifle of a play but director Aynne Ames and her cast transform the 1980 musical revue set in the ragtime era into an energetic and loving tribute to community theater.

The play, written by Mary Kyle, Mel Marvin and Gary Pearle, is set in America’s ragtime era, between 1890 and World War I. None of the songs were written for the show — instead they’re the ones popular during that time period or composed to depict that era. They include “Meet Me in St. Louis,” “I’ll Take you Home Again Kathleen,” “Shortnin’ Bread,” “Won’t You Come Home Bill Bailey,” “You’re a Grand Old Flag” and “Yankee Doodle Boy.”

Ames and her Music Director Colin Graebert coax the best out of the cast members, who range in age and ability but pour their hearts and souls into the show, which has little dialogue. Graebert’s skill as a choral director is most evident during the many company numbers when all 10 actors — four men and six women — are onstage but sound like a choir twice that size.

Leander Andrews, Maggie Goscinski, Nathaniel Gray and Dakota Wing are some of the youngest and most talented performers in the cast. They create distinct and multiple characters and caricatures. Their voices are the strongest and each gives a bit of a modern interpretation to songs they most likely were unfamiliar with before being cast in this show.

Andre Blanchard portrays Theodore Roosevelt, a key political figure in the ragtime era. Dressed in a cream-colored suit and sporting a mustache and a pince nez glasses, he looks the part and captures Teddy’s bluster until he had trouble remembering his lines at Saturday’s show. That marred an otherwise fine performance

Deb Fournier gives emotional depth in back-to-back renditions of “Wayfaring Stranger” and “Sometimes I Feel Like a Motherless Child” and Linda Leppanen belts out “Won’t You Come Home Bill Bailey” with soul and grace. Allison C. Morrill, Chesley Lovell and Dana Wilson round out the female cast.

The set, designed by Fournier, is patriotic and functional but bare boned. Lovell’s costumes and wigs are what put the action onstage in the right historical era. From Roosevelt’s suit to the diva’s lush gown to the immigrant’s simple shirt and pants, the costumes help define each and every character and give show a visual richness that adds depth to the thin story.

In her introduction before the show, Ames tries to connect the turmoil of the late 19th and early 20th centuries when immigrants were changing American culture and technology was revolutionizing everyday life to today’s political climate and Internet age. That seemed like a bit of a stretch for Saturday night’s audience, made up of family and friends of the cast.

They were happy just to be entertained and to support the spirit of community theater where everyone who wants to be involved has an opportunity to help put on the show whether they are on stage or behind the scenes.

This is a flawed production without the spit and polish a professional company would have given it. Yet “Tintypes” feels like a gift presented to the Belfast community not unlike the local community picnics and barbecues offered in parks every summer throughout small towns in Maine. Midcoast residents should embrace and support Cold Comfort Theater’s production in that same spirit.

Cold Comfort Theater was founded by Ames more than four decades ago in Castine. After a decade at the helm of the Belfast Maskers, Ames revived the company in 2015. It is one of four theater groups active in Belfast.

“Tintypes” will be performed at 6 p.m. Thursday, Friday and Saturday at Wales Park in Belfast. The rain date is Sunday. For tickets, call 930.7244 or visit coldcomforttheater.com.