reviewed at the Theatre Royal, Norwich on 17 August
This touring production of the Boublil and Schönberg musical Miss Saigon is a spectacular affair. So much so that the story – a transposition of Puccini’s Madama Butterfly to the frenetic conclusion of the Vietnam conflict – can seem lost in the precision of the choreography and the kaleidoscope of effects.
Sooha Kim is moving as the girl adrift in 1975 Saigon who falls in love with an American soldier Chris (Ashley Gilmour) and finds herself trapped by an émigré nightmare in Bangkok from which there is only one exit.
Dominating the action is the night-club boss with his fingers in a whole mess of very sticky pies known as the Engineer. Christian Rey Marbella swashbuckles his way into the audience’s attention; he provides a classic example of the villain who steals the show.
Two characters with more principles, albeit radically differing ones, are Chris’s comrade John (Ryan O’Gorman) and revolutionary Thuy (Gerald Santos). Elana Martin’s Ellen, Chris’ American wife, has a strong personality as well as a good voice.
Miss Saigon is through-composed and the score is well supported by a fifteen-piece orchestra directed by Matthew J Loughran. “It’s all done with smoke and mirrors” runs the adage, but in Laurence Connor’s production, the special effects and lighting make the saying come true.
Five star rating.
Miss Saigon runs at the Theatre Royal, Norwich until 15 September with matinées on 18, 22, 25 and 29 August and 1, 5, 8, 12 and 15 September as part of a national tour.