Blowing in from the windy city to Edinburgh, Calamity Jane brought many a western drawl (and a few stray accents here and there) to a packed Festival Theatre. This is one of those shows which, a bit like its post-Golden Age Hollywood roots, shimmers with a fond memory or two, but outside of a few hummed ditties and flittering feelgood moments, there’s little impact to be felt from the production’s cracked whips and impressive if on-the-nose visage.

The Curve’s artistic director Nikolai Foster’s revived vision for the show has much to do with its success, honing squarely on the nostalgia of it all, with a crowbarred sense of humour. It’s lifted by Carrie Hope Fletcher’s enthusiasm and draw-power as the titular character, loosely based on the historical frontierswoman. Coiled like a rattlesnake, ready to lash out, Hope Fletcher certainly delivers much of what the crowd expected, but as so often happens with the star-vehicle mindset, her presence takes away from others. Not an issue for co-stars Seren Sandham-Davies (Katie Brown) and Samuel Holmes (Francis Fryer), who strike out with a more absorbing side-story of fame and blossoming romance than the principal narrative.

And by the time the third or seventh reprisal of ‘The Black Hills Of Dakota’ rolls around, the entire theatre seems to have succumbed to the ache of it all: their wagons hitched, a steady stream of humming voices puttering out of the theatre as Calamity Jane saddles up for further stops on its UK tour.

Calamity Jane is on tour until Saturday 27 September; reviewed at Festival Theatre, Edinburgh.