Compelling modern classic Miss Saigon makes as strong as possible a case for its return, with a spectacular staging and sensational cast.
Having missed out on the Australian premiere season in 1995, Melbourne audiences were pleased to finally see Miss Saigon at Her Majesty’s Theatre in 2007. Fifteen years later, the show is back at the same theatre, filling the space far more grandly with Matt Kinley and Totie Driver’s lavish production designs.
The pedigree of this new season harks back to the 2014 West End revival, which was filmed for home cinema and also transferred to Broadway in 2017. The sympathetic and insightful work of director Laurence Connor is continued by Australian production director Jean Pierre van der Spuy. Stage energy is at a premium, successfully creating a vivid sense of life in every scene. Musical staging by Bob Avian and Geoffrey Garratt utilises the generously sized cast to conjure grand pageantry.
While it is hard to overstate the spectacle of the now-famous helicopter, which arrives at the peak of the drama in a crucial flashback sequence, it is important to note that the human drama of Miss Saigon more than withstands the presence of any such theatrical device.
Controversy has tended to follow Miss Saigon since its 1990 premiere, in which a caucasian male played a mixed race lead role. It is pleasing to note that casting for this season cuts no corners to present the most talented performers in roles that befit their nationalities. Also, the respectful incorporation of customs and rituals seems more prevalent in this staging.
While it may seem perverse to create a stage entertainment from a time of great difficulty, Miss Saigon follows a centuries-old tradition to stage tragedies. The story here is certainly played as a searing tragedy, the affecting impact of which prevails beyond the final curtain.
Claude-Michel Schönberg’s score for Miss Saigon may be generally considered second best after Les Misérables but that is far from a damning comparison, the gorgeous romantic melodies of Miss Saigon now beloved in their own right. Lyrics by Alain Boublil and Richard Maltby, Jr have been tweaked with additional lyrics by Michael Mahler for a smooth, modern tone.
Schönberg’s music benefits from one of the world’s best musical supervisors in Guy Simpson for the Australia production, with Orchestra Victoria under the experienced baton of Laura Tipoki for a lush, colourful musical performance. Vocals are also at a premium, with the overall sound design of Mick Potter (supported in Australia by Shelly Lee) presenting a clarion, impeccably balanced mix.
Looking back over the history of radical breakout performances in musical theatre, the best comparison of the extraordinary reinterpretation of The Engineer by Seann Miley Moore would have to be Alan Cumming’s original outrageous turn as The Emcee in Sam Mendes’ 1998 revival of Cabaret. Moore redefines The Engineer from the inside out, infusing every possible aspect of the role with an emotionally intelligent, devastatingly affecting blend of devilishly driven desperation mixed with kittenishly playful high camp.
The success of Moore’s performance rests on the fact that the interpretation perfectly fits the existing material, as well as the fact that Moore has the sheer talent to pull off the audacious work to an immaculately high, fully realised standard. This is a performance for the ages and demands to be seen by all devotees of musical theatre.
Far from carrying the show, Moore is more than capably supported by a well chosen, highly talented ensemble of lead players.
Abigail Adriano makes an outstanding professional lead role debut as Kim, singing the role like a dream and grounding the tragedy with her aching vulnerability. Completely believable in her arc from innocent youth to blazingly determined mother, Adriano instantly takes herself to the top tier of actresses to have played this highly demanding role.
Enjoying an international career, Australian-American tenor Nigel Huckle returns to play passionate US GI Chris. Huckle’s handsome, open face engagingly conveys the irresistible lure of romance, his innate likability creating a captivating conflict for the audience in regard to the character’s intrinsically bad behaviour.
Huckle and Adriano sweep the audience along in the first half of act one as Chris and Kim’s whirlwind romance unfolds, the intensity of their passion underscoring the remainder of the drama.
Talented singing actress Kerrie Anne Greenland plays Chris’ US wife Ellen with a maturity that belies her years.
As Chris’ best friend John, Nick Afoa gives a touching performance as the character’s authentic masculinity melts away in later life.
The dramatic impact of Kim’s betrothed Thuy is slightly undermined by Laurence Mossman’s baby faced appearance, although this equally serves to underscore the message that these are children thrown into the hell of war. Mossman nonetheless pays the role with full dramatic intensity. Kimberley Hodgson makes a memorable impression as Kim’s Dreamland compatriot Gigi, giving a beautiful rendition of elegantly wistful I wish song “The Movie in My Mind.”
The full ensemble works as one to bring the era and story to vivid life.
Any local musical theatre fans who think they have already seen Miss Saigon are impelled to return for this superb production; newcomers should prepare to be absolutely blown away.
Miss Saigon plays at Her Majesty’s Theatre, Melbourne until 16 December 2023. For tickets, click here.
Footnote: the pre-show message about mobile phones not being invented yet was cute at Hairspray but the tone is misplaced for the drama of Miss Saigon.
Photos: Daniel Boud
Categories: Music Theatre, Reviews
Man in Chair 
I can’t wait to see this again Simon. It looks wonderful. We are so lucky that it will be in Adelaide January 2024.
I think we have the success of the Mary Poppins season here to thank for that although Miss Saigon will be a harder sell here.
I totally agree re your last comment : “the tone is misplaced for the drama of Miss Saigon.”
As an audience member I appreciate the ban on mobile phones. I have seen some shocking breaches of etiquette, the worst being a person right in front of me filming Julie Andrews’ live performance on an elevated tablet. Mind you, strangely, they didn’t make a warning announcement before the show and then the staff spent the whole show asking people not to film ??
I always laugh with the announcement advising to open cellophane sweets ‘before’ the show begins.
We’ve all experienced ‘Gladys’ or ‘Fred’ trying to open a cellophane sweet in the middle of Butterfly’s death or Les Miz’s Bring Him Home !
I bet you could tell some stories Simon ! Please share.
I’m enjoying your posts from Broadway as well.
Thanks, Edward.
You are probably right that Miss Saigon will be a harder sell in Adelaide, although the quality of the production and cast will surely shine though.
Would you believe there are now signs in NY theatre foyers stating that it is against NY city law to use mobile phones in theatres – bravo!
Amazing production in Melbourne fabulous cast loved it better than when I first saw it in 1996. And as Melbourne is the home of the most stunning theatres in the country they could never go wrong 👍🏻👍🏻👍🏻
Totally agree, Peter. We are so blessed in Melbourne with our wonderful heritage theatres.
You are indeed very fortunate with the magnificent theatres in Melbourne with one reservation being the cramped and oddly configured stalls seating at The Princess Theatre. I haven’t been since pre-Covid so my apologies if the seating layout has been improved.
The stalls at the Princess Theatre are tricky in that there are no aisles, just full-width rows. Still, I would rather have musicals back in there than a play!
My mother and sister would not agree with you; feedback I received from both yesterday was that the content of this play was disgusting, vulgar, crude, explicitly sexual acts that were totally filthy and unnecessary, language filth … unfortunately, neither thought highly of it and expressed disgust that there were not warnings from the production regarding the vulgar content, the explicit sex, use of vulgar euphemism throughout. If they had of known they would never have paid such an exorbitant price, nor attended the event!
Sadly Melbourne HM’s staging of this had left an extremely poor impression on them of Melbourne theatrical plays.
Both stated that they couldn’t just walk out as they had paid such an exorbitant cost for it and had driven 3 hours from rural Victoria to attend! I can understand their feelings as it’s not just the bad play, but the cost of tickets, fuel, parking and a 6 hour return trip, that leaves you frustrated and drained. It was a long day for them, for a disappointing day.
Hi Kathy,
I am sorry to hear that your mother and sister had such a bad experience at Miss Saigon.
It is true that my review has not warned audience members about the issues you have mentioned, but the website for the show contains the following extensive warning:
“PLEASE NOTE
This production contains scenes of a sexual and violent nature, wartime themes, firearms, derogatory and coarse language, drug use and the simulated smoking of cigarettes. The production also contains strobe lighting, gun shots, loud sound effects, theatrical haze, and pyrotechnics.”
I stand by my comments that this is an outstanding production of Miss Saigon. It is the nature of theatre, and, indeed, all forms of entertainment, that not all offerings suit all people.
I hope that your family will try another show in future. Trigger warnings are more common than ever now so always look out for relevant information in advance.
Best wishes, Man in Chair
Thank you for your balanced and considerate reply to Kathy re her reaction to seeing Miss Saigon and encouraging her not to give up on musical theatre that presents itself in many forms, sometimes challenging.
I attended a performance of Miss Saigon in Adelaide last night.
Wow …..how did it ever fit on the Opera House stage ?
This is one huge production with enormous scope both emotionally and production wise.
I was fortunate to see an understudy Louisa Vilinne in the role of Kim.
Vocally very secure, Louisa’s stage presence portrayed an innocence, both fragile and strong that suited the character superbly. It will be interesting to see Abigail Adriano later in the season here.
Nigel Huckle as Chris was beyond superb. His ‘Why God Why’ was a masterclass in musical theatre performance.
Not so the Adelaide season substitute for John, Lewis Francis.
Vocally uneven with an awkward stage presence totally alien to the character.
Let’s hope he settles more into the part as the season progresses.
He was not helped however by the less effective re-staging of the Bui-Doi number. Bring back the lecturn people !! It grounds the song and Lewis needed that support.
…….and please …..bring back Ellen’s ‘It’s Her or Me’ number. Substitute song ‘Maybe’ flattens her pivotal scene.
Don’t know why they keep changing her song ??
Magnificent work from the committed chorus and the generous orchestra created a sound that was absolutely operatic.
Can’t wait to see this one again ……and again !!
Thank you for these comments, Edward, much as I am so jealous that you now have this beautiful production in Adelaide. I certainly do not blame for seeing Miss Saigon at least twice while it is there!
Totally agree about Nigel, and you will love the innocence of Abigail when you see her. You have not mentioned Seann as The Engineer. Such a unique interpretation, keen to hear your thoughts.
The staging of Bui-Doi is so random, it is like John is giving a talk to no-one and then such guys just wander in.
Shame you do not have Nick Afoa as John. Based on Lewis Francis’ performance in Mamma Mia!, I can imagine why you would be disappointed
Laughing at your comments about Ellen’s song. There are at least three versions out there. An earlier favourite of nine in that spot was “Now That I’ve Seen Her.”
Miss Saigon looked fabulous at the Maj in Melbourne. In Sydney, I imagine it was a bit the same as Evita, where some of the sets had to be placed in the wings. Crazy!
Enjoy this wonderful season. And Happy New Year!
Thanks Simon. I found your comments re the staging of Bui-Doi make a lot of directional sense.
Reducing the original impact of the powerful choral vocal to off stage is a misstep.
My reaction to Seann as the Engineer was mixed.
Despite his vocal strength his youth and physical beauty worked against the grit and sleaziness that has become associated with the character.
I felt he was more of a caricature than a character. I wanted to ‘smell’ the decay in the mode of Cabaret’s emcee …..and I didn’t. He slipped into the generic nuances and off sides that we have come to expect from today’s cross gender performers and Socials platforms.
Attended Miss Saigon in Adelaide for the 2nd time last night.
Saw the alternate Kim again, Louisa Vilinne, but was not disappointed with the intensity and vulnerability of her performance. I have since discovered too that she is a graduate of the Elder Conservatorium Music Theatre School in Adelaide.
You’ll be happy to know Simon that they have altered the mobile phone warning delivered at the beginning to a format that suits the production much better . Did A talk to B I wonder ?
In last night’s performance too there was no car in the American Dream sequence !
On enquiry it was at the matinee that day so looks like the musical theatre Gremlins have been at play.
Amazing how its absence flattened the number.
Have you seen the recent movie Theatre Camp ? It’s a must for all fans of the genre and totally enjoyable.
You’ll recognise all the characterisations.
Thanks for the update, Edward. Glad to hear you enjoyed Louisa, sorry I did not have the chance to see her.
I love that they changed the mobile phone warning! Thanks for letting me know.
I watched Theater Camp at the cinema – couldn’t wait to see it. Must watch again on Disney+. So clever with all the in-jokes, perfect for those like you and I who are fully versed in all things theatrical.
Meanwhile, looking forward to the new movies of Mean Girls and The Color Purple, having enjoyed both on Broadway.