As the curtain lifts on this classic Wild West romp, the audience are teased with a slowed-down version of “There’s No Business like Show Business” as the Company move equally slowly across the space, and the superb orchestra are revealed, onstage, subtly tucked away in the background. We’re soon up to full speed singing and dancing, and the opening number doesn’t disappoint. It is bright and colourful, with wonderful choreography and beautiful Saloon-Girl/Burlesque costumes, with the odd flash of a cheeky stocking or a frilly knicker every now and then.

Having missed Jason Donovan in Priscilla: Queen of The Desert recently, I was pleased to see him back at the New Theatre as Frank Butler, “swollen-headed” crack-shot superstar of Buffalo Bill’s Wild West Show. And very charming he is too, providing a solid performance, both acting and singing.

Emma Williams shines as our eponymous Annie, who we meet as a grimy, gun-toting gal “Doin’ What Comes Natur’lly”, but is soon transformed into a beautiful, world-renowned sharpshooter. Williams shifts between comedy and romance easily and has a beautifully sweet singing voice.

Norman Pace and Dermot Canavan are a pleasant pairing as the show-rivals Buffalo Bill and Pawnee Bill, respectively. Ed Currie plays an excellent Sitting Bull, with his deadpan delivery and rather imposing presence, but it was William Oxborrow who stood out for me, as Charlie Davenport, the show’s manager. The feisty chat between him and Kara Lane’s Dolly Tate (Butler’s assistant) is delightfully sparky and gives the whole show a boost of energy.

The set is quite simple, but also rather striking with its bold red and white striped ‘Big Top’ style canvas. In a scene set on a train journey, we are treated to the simple, yet hypnotic, swaying and rocking of the cast to show the movement of the train.  No need for big budget mechanics here.

This production of Annie Get Your Gun is a sweet, jolly romp that harkens back to the era in which it was written. I can’t help feeling that Frank could have been slightly less charming, and a bit more egotistical, to provide more of a platform for conflict between him and Annie, but when you have the musical genius of Irving Berlin to carry you along to a happy ending (via a stunning rendition of “Anything You Can Do”), why would you want conflict?