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