Book & Lyrics: Alain Boublil
Music: Claude-Michel Schönberg
Director: Jean-Pierre Van Der Spuy
Miss Saigon has never been a show to do things quietly, and the new touring production at Leeds Grand continues that legacy with style. Visually rich, emotionally charged and based on some incredibly difficult material, it’s a revival that honours the original while making clever choices in its design.
One of the most striking elements of this production is the updated set and costume design. While long-time fans will notice changes from the original – some simplifications, some reinterpretations – the overall effect is hugely impressive for a touring show. Andrew D Edwards has cleverly reimagined iconic moments, using inventive staging and atmospheric lighting to achieve drama without relying on the sheer scale of previous productions.
Costumes have been refreshed too, often with a more sensitive, less stylised approach that brings a greater sense of authenticity to both Saigon and Bangkok. For a show on the road, the production values are remarkably high, and the visual storytelling consistently enhances the emotional weight of the narrative.
At the centre of the show is Julianne Pundan as Kim, delivering a performance of extraordinary emotional clarity. Her voice is dazzling, clear and powerful and she brings a grace and depth to the role that never feels forced. She captures Kim’s innocence, desperation and fierce resolve with remarkable skill. I’d Give My Life for You is a genuine highlight, filled with heart and raw vulnerability.
Opposite her, Jack Kane’s Chris is earnest and sympathetic, though the early moments between the pair don’t quite land as naturally as they could. Their initial meeting feels a touch over-choreographed, slightly muffling the quiet spark the scene needs. Kane gives a thoughtful performance overall, but he strained for a couple of top notes on the night, which briefly pulled focus from otherwise heartfelt scenes.
Dominic Hartley-Harris as John is outstanding. His voice fills the theatre with ease – rich, controlled and intensely moving. Bui Doi becomes one of the evening’s most powerful scenes.
Emily Langham brings real poise and dignity to Ellen, Chris’ American wife. It’s a role that can be overshadowed, yet Langham plays it with quiet strength, dignity and vulnerability, making her scenes feel grounded and human.
And then there’s Seann Miley Moore as The Engineer, the undeniable star of the show. His interpretation is bold, sharp and completely captivating – a glorious blend of sleaze, humour and razor-edged survival instinct. The American Dream becomes a riot of colour and controlled chaos, delivered with fearless swagger. It’s one of those performances the audience clearly felt lucky to have witnessed.
One small disappointment was the mimed saxophone during the famous number – live playing would have given the scene the emotional authenticity it deserves. However, as a whole, Miss Saigon is a visually striking, emotionally resonant and superbly performed revival, with an exceptional cast.
Runs until 13th December 2025.
