The heat is on! I see Miss Saigon for the second time since it was revived and it’s just as wonderful as I remember!
Miss Saigon tells the story of Kim, a young girl orphaned by war. She takes a job with the seedy Engineer as a barmaid. She falls in love with an American GI, Chris, but the two are torn apart by the fall of Saigon. This epic love musical is set against the backdrop of the Vietnam War and is based on Puccini’s Madame Butterfly.
I was expecting great things from Miss Saigon, both times I saw it. The first time was two days after its press night, after hearing spectacular things about it and it lived up to the hype. I decided to return to see the cast before it changed over and because certain elements from my previous viewing were hazy. I was not disappointed.
“Whilst musically it’s not the most difficult score, it is more than epic”
Firstly, the design is spectacular. Totie Driver and Matt Kinley deserve a standing ovation for this spectacle of a set, with Bruno Poet’s lighting complimenting it perfectly. The big draw to Miss Saigon is, of course, the helicopter, which is executed very well. I remember from my first time seeing it that it was a little shaky, but that was early in the run so whatever the problem was then has obviously been fixed. It comes in so smoothly, a full size helicopter. I never saw the original production so this had a huge effect on me when I first saw this spectacular theatrical feat. Laurence Connor has told the story clearly with no messing about, his direction was highly suited to the production.
The score has become iconic since it’s premiere and is still as fresh as ever. Claude-Michel Schönberg has captured the sound of Saigon whilst keeping it Western enough for London audiences. Whilst fairly straightforward, it has its moments of complexity that are welcomed and applauded. Alain Boublil and Richard Maltby, Jr’s lyrics match the score to a tee, presenting this tragic love story elaborately. Whilst musically it’s not the most difficult score, it is more than epic and is draining to perform, so a very big well done to the cast.
On Eva Noblezada:
“One of the brightest young stars in musical theatre”
Here I saw a few understudies, which was welcomed, especially since I had seen the main cast before. The people I came to see were here so I was happy. I saw Dale Evans as Chris, a promising young performer with a pitch perfect voice. He portrays Chris with sincerity and passion in all the right places, matching that of Alistair Brammer. Kurt Kansley filled in as John, and whilst not reaching the power and intensity that Hugh Maynard does, he did a very good job holding his own. Ethan Le Phong fills in brilliantly for Kwang-Ho Hong as Thuy, bringing a fresh approach to the role. Rachelle Ann Go is fantastic as ever as Gigi, showing a great sense of vulnerability during her spotlight moment in ‘The Movie In My Mind’.
The two stars here are obvious, Jon Jon Briones as The Engineer and Eva Noblezada as Kim. Briones give so much energy to the character of The Engineer from the word go. You know the character is sleazy, but you love him anyway, which is because of Briones’ interpretation. He exudes comedy, but never overdoes it. He is a master of working the audience, best displayed in showstopper ‘The Ameican Dream’. Noblezada is perfect as Kim. She has a fragility to her performance that is absolutely necessary of the character, yet she is fierce when it is demanded. Noblezada has a voice that soars above all, especially for a girl of 18. As I said in my review of her performance in Georgia Stitt’s show, I hope she becomes as much of a sensation as Lea Salonga did before her as she more than deserves it as one of the brightest young stars in musical theatre.
So if you haven’t already seen the show, this needs to change and soon. Catch Eva Noblezada and Jon Jon Briones whilst you can (I would imagine the cast will change around May), because if this production heads to Broadway, which it should do, they will more than likely be going with it. It is equal balance substance and spectacle, which is rare in theatre nowadays, so get down to the Prince Edward ASAP!
Photo credits: Love Theatre, Michael Le Poer Trench, Matthew Murphy
IBU LANGOO 