Book: Alain Boublil and Claude-Michel Schönberg
Music: Claude-Michel Schönberg
Lyrics: Alain Boublil and Richard Maltby Jr
Additional Lyrics: Michael Mahler
Director: Jean-Pierre Van Der Spuy
Although not your traditional Festive Theatre choice, this new touring production of Miss Saigon is probably the most impressive musical to have graced the stage of the New Theatre in many decades. And whilst it is not perfect, it is a compelling and emotionally engaging piece of theatre that commands the audience’s attention from start to finish.
Jean-Pierre Van Der Spuy directs a taut and powerful production of this reworking of Madame Butterfly set against the backdrop of the fall of Saigon at the end of the Vietnam War. Written by the creators of Les Miserables, it has a rich and complex score that deserves to be far better known than it is.
There are no weak links in the casting. It is anchored by newcomer Julianne Pundan as Kim. She has a powerful voice and an instinctive approach to acting that makes her stand out as someone to watch for the future as a real talent. She is well matched by Jack Kane as Chris. He delivers strong vocals throughout and shows consistent sensitivity in the role.
Seann Miley Moore as the Engineer may give a more divisive interpretation of the role. They have been given the freedom to add asides and comments through the action, building a rapport with the audience. It is a more aggressively sexualised version of the character that has been seen before – but it works within the broader context of narrative. It is, without doubt, an arresting performance backed by impressive singing.
Dominic Hartley-Harris as John makes a number of impressive contributions, particularly in his vocals during Bui Doi. Whilst the character has only a smaller number of scenes, he always stands out.
The show is visually impressive, particularly for a touring production that needs to adapt for a wide range of venues. Andrew D Edwards’ set is ever-changing whilst never feeling cluttered, and it provides both spectacle and intimacy as necessary. The costumes effortlessly evoke both time and place. Everything is enhanced by Bruno Poet’s lighting design. It is detailed, complex and full of drama – a masterclass in what can be achieved in touring theatre.
For anyone who has been to the New Theatre, sound balance has been an ongoing problem for as long as anyone can remember. It is notorious for being a challenging venue for sound. Adam Fisher’s sound design seems to have found a solution to many of these difficulties, and the sound team deliver an impressive audio presentation.
Where so many aspects of the production are of the highest quality, the issues lie mainly with the lyrical changes that have been made in recent years, which are not as impactful as Richard Maltby Jr’s originals. Ellen’s solo in the second half has changed a number of times since the show first opened, and the current song Maybe is the weakest of the possible options.
These are minor quibbles that will only be noticed by those who have known the show over the past thirty-six years. It is a quality production that delivers a huge emotional impact that rightfully brings tears to the eyes at a number of points through the show.
Runs until 3 January 2026 and on tour
