Review: MISS SAIGON, The Alexandra - Tour
Photo credit: Danny Kaan
Boubil and Schönberg’s Miss Saigon is a staple in the musical theatre canon and remains a juggernaut amongst its peers.
Sheffield Crucible’s 2023 production aside, the last major UK outing for this stunning musical was the 2014 West End revival starring Eva Noblezada-Carney, Alistair Brammer and Jon Jon Briones, which was *chef’s kiss* utterly sublime in every way. Some 11 years later, a brand new production has been created but with re-imagination at its core and as such, has been considered and effectively directed by Jean-Pierre Van Der Spuy under the watchful eye of Sir Cameron Mackintosh himself.
Theatre is an ever evolving beast, which continues to push boundaries and new writing is thankfully being given platforms to shine in many more ways than it used to - this is what makes our industry so exciting rather than saturating the market solely with titles that have been around for decades. But then one must ask themselves why said titles keep being revived? It’s absolutely for a reason so bringing it back to Miss Saigon, the age old analogy “if it ain’t broke, don’t fix it” immediately springs to mind. Does this reinvention serve this iconic piece well? Yes and no.
From the beautiful opening projections (George Reeve) and the first tinkling notes of the overture, we are transported to Saigon. Andrew D Edwards’ split level set, lining the wings and upstage, is well utilised, with particularly striking visuals created when commissar Thuy looks down upon his military unit from the upper floor, and provides a haunting final image as the curtain falls. There are also several individual set pieces that are moveable and form different locations, aided by a revolve. The colour palette created by Bruno Poet’s lighting design adds to the setting, flitting from the warm, humid streets of Saigon to more stark lighting in the brilliantly choreographed (Chrissie Cartwright and Carrie-Anne Ingrouille) formation based military sequences. A stand out choreographically is definitely ‘Morning of the Dragon’ when the military are represented as puppets - a lovely metaphor.
Being one of the best musical scores ever written, particular care needs to be taken to both protect and enhance it using sound design, levelling and balance. This doesn’t quite come to fruition at the Alexandra for one reason or another. You should feel the music enveloping you but for much of the time, it very much feels like it’s kept on stage, not inviting the audience fully in. There are some new orchestrations by Stephen Metcalfe and a few added phrases here and there, which also adds to the evolution of a classic piece but doesn’t necessarily elevate it to the next level.
The freshness being strived for is reflected in the casting for this production. Seann Miley Moore is a vibrant, energetic, charismatic Engineer and as quoted in the programme: “the embodiment of queer Asian excellence.” A little more light and shade would take their performance to the next level as Moore is always 120%! Amazing, but we miss some of the Engineer’s humanity because of this.
Julianne Pundan as Kim is a terrific talent, with glimmers of the same star quality that the aforementioned Eva Noblezada-Carney showcased in her professional debut. A more prominent character arc could be beneficial as the show progresses but a truly excellent vocal performance from her. Jack Kane as Chris doesn’t quite meet Julianne at this level, with some of the score evidently challenging for his vocal range. The trauma of war and previous lived experience is not greatly felt and Chris and Kim’s relationship could feel much more believable than is portrayed.
Dominic Hartley-Harris is exceptional as John with his caramel, silky smooth vocals, and his ‘Bui Doi’ brings the house down. Not over sung but emotive, powerful and with intent. Likewise, Emily Langham does a lovely job in creating a likeable, warm persona as Ellen as it can be so easy for her to be seen as a villain. She has a beautiful voice and you really empathise with her during ‘Maybe’, which was a fantastic addition to the 2014 West End production.
Special mentions must also go to Mikko Juan who is a dominant Thuy and is truly haunting at the start of ‘Kim’s Nightmare’ sequence. Likewise Ace, of The Voice UK fame, certainly makes her mark as Gigi in her professional debut. Her ‘Movie in my Mind’ is goosebump inducing in the best way and we’d have loved to see more of her. Ace and Dom Hartley-Harris in concert - SOLD!
The supporting cast create the worlds superbly, with group numbers ‘The Heat Is On’ and ‘The American Dream’ being a real treat. Seann Miley Moore lives their best life in the latter number, looking sensational in that iconic star spangled banner costume!
The legend has been reborn with this production, there’s no denying that, but it does not quite deliver the guttural sucker punch that it should. As the tour continues, however, we are sure everything will get tighter and more self assured.
Miss Saigon remains a must-see but view this iteration with an open mind and open heart.
*** Three stars
Reviewed by: Jenny Ell
