It was a full
twenty-nine years ago that I sat in the Theatre Royal Drury Lane watching Lea
Salonga lead the original company in Miss
Saigon. The last of the 1980s mega-musicals, it was a feast for the eye and
the ear. A glorious celebration of everything that was great about musical
theatre. For some reason, even though the CD has been a constant on my
playlist, my path has not crossed with the show since. I have quite literally
missed Saigon. (See what I did there?) But now, courtesy of Sir Cameron
Mackintosh’s latest tour I was able to reconnect with the show at the Palace
Theatre, Manchester. But would it dim the rosy memories I have of triumphs three
decades ago?
This production hails
from a re-launch of the show in the West End back in 2014, and it remains a huge feat of storytelling. Visually it is just as lavish as it always
was, telling the story of 17 year old Vietnamese girl Kim who finds herself
through circumstance working at a bar presided over by The Engineer, a kind of
pimp who will supply anything no matter how exotic to his clientele. It is here
that a disillusioned US marine Chris falls for Kim, and with the communists
days away from taking Saigon, he embarks on a hasty romance. But the tide of
events overtakes them both and they are separated when the Americans evacuate
Saigon and head home. The rest of the evening is concerned with Kim’s attempts
to reunite Chris with herself and the son he doesn’t know he has.
Alain Boublil and Claude-Michel
Schönberg proved they were no one hit wonders after the global success of Les
Miserables, by giving us another of the all time great musical scores. From the
sweaty urgency of “The Heat Is On” through the searing duet “The Last Night Of
The World” and the anthemic “Bui Doi” the score bristles with memorable moments
which tug at the heart strings. It is first rate material. Luckily they have a cast that can deliver.
Sooha Kim as Kim
Sooha Kim gives us a
Kim who face radiates innocence and unswerving belief that Chris will return
for her. She is at her absolute best when she finds that Chris is now married,
the light fading in her eyes as the harsh truth hits her. Sooha naturally has a
fine, strong voice which drives home the emotion of her material particularly
when given a chance to shine solo as in “I’d Give My Life To You”.
Red Concepción and company
Balancing the high
emotion of Kim’s plight, is the role of The Engineer. Slippery and sinister in
equal measure, The Engineer has one goal. To get a visa and depart for America.
He manipulates the situation around him to achieve his ambition, swiftly grabbing opportunities as they are presented. Red Concepción
gives a multi-faceted performance making the most of the comic opportunities
for the character whilst still conveying the desperation of his situation. The
big show stopping number “The American Dream” gives him a tour-de-force chance
to shine. He grasps it with panache.
At the performance I
saw, the understudy Chris was on show. Vinny Coyle is a tall and vocally excellent performer, who delivers Chris’ heart break and turmoil to great effect. His
scenes falling for Kim felt utterly real. I last saw Ryan O’Gorman being brilliant
as Collins in Rent, and here he is providing another bravura performance as
John. O'Gorman's rendition of “Boi Doi” is outstanding and one of the highlights of
the evening. We also had the understudy Ellen, Emily Beth Harrington, who possesses
a gorgeous clear singing voice as Chris’ new wife Ellen, served with the
aftermath of events three years previously and caught between Chris and Kim. Na-Young
Jeon similarly shines as bar girl Gigi whose “Movie In My Mind” encapsulates
perfectly the fate of so many Vietnamese girls trapped in the horrors of war. The lead cast is completed by Gerald Santos as Thuy, promised to Kim by their fathers
but now rejected in favour of Chris. Santos gives us hurt and then rage as he
struggles to come to terms with the situation. His ultimate fate is sealed with
a powerful vocal which heightened the drama on cue.
Despite the glorious
leads, this is still very much an ensemble show. With a cast of 39 playing an
assortment of soldiers and Vietnamese, the spectacle of the show is hard to beat.
As sets slide in and out, and lighting changes and shimmers to create varying
moods, the audience are swept up in a rollercoaster of storytelling which tour
director Jean-Pierre Van Der Spuy and legendary choreographer Bob Avian whip up
into an evening of theatrical brilliance. A word too for the 15 strong orchestra conducted by James Wycherley, their lyrical playing on this complex score sounded magnificent. An orchestra of this quality in full flight is worth the admission price alone, Boublil and Schönberg should be proud that their work is played to this standard every night.
Miss Saigon feels as
fresh and relevant today as it did nearly 30 years ago. This is due to the huge production values
lavished on the show by Sir Cameron but also sadly in our knowledge that the
horrors of war have not diminished in the interim. It remains one of the great lynchpins of
popular theatre. If it truly is 'the last night of the world', you could do worse than spend it in the company of Miss Saigon.
UK Tour details at www.miss-saigon.com
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