12 August 2023 I 14:00 I Crucible Theatre, Sheffield
⭐⭐⭐⭐⭐
As the musical enters its final week at Sheffield's Crucible Theatre, the first regional non-replica of Miss Saigon is a dominant theatrical feat. Robert Hastie and Anthony Lau reinvent the 20th century show in an incredibly modernised vision, without losing any of the original conventions or settings amongst the Vietnam War. Miss Saigon is well renowned for being one of the most successful musicals of all time. With Brohn's divine orchestrations in songs such as Movie In My Mind and You Will Not Touch Him, the new found intensity and haunting visions of this production are set to go down as a revolutionary change.
This Boublil and Schönberg musical, featuring parallels to Puccini's Madama Butterfly in 1970's Saigon, is typically seen with very grand, monumental sets. This minimalistic interpretation, designed by Ben Stones, features a more symbolic form of staging, leaving audience members with their imagination to fill the scenery. And alongside The Crucible's thrust staging, this allows for a much smoother run with transitions. Ahead of this matinee performance, we went on a tour of Sheffield Theatres, informed on the Greek origins of thrust staging, whereby the actors are literally forced into the audience. This heightens the sense of vulnerability for the characters, allowing tensions to reach a new high in this arena format, particularly benefitting duos. Anyone who knows this stage will realise that the space isn't large enough for the infamous helicopter of original versions. However, Jessica Hung Han Yun's lighting design emulates the immensity of the vehicle, particularly with haze and a spotlight as the atmosphere reaches boiling point. The effervescent hues of Dreamland really add to the allure and temptation to juxtapose the vulnerability of the Vietnamese bargirls.
Alongside both lighting and set design is Mike Walker's innovative sound work, to really envision the realities of war. I became astonished straight from the opening sequence, where the ensemble use a multitude of entrances to create a bustling, visceral cityscape. You could close your eyes and be transported to Saigon. Amongst the crescendo of sound, including conversation and bicycles, central protagonist Kim (Desmonda Cathabel) is found. We are introduced to Kim's pain, losing her loved ones as she is forced into desperate measures to escape the broken city of Saigon. Cathabel is absolutely tremendous at not just acting this, but embodying these emotions so that they are felt and believed. She encapsulates Kim's determination and fear with precision, wholly extraordinary to have seen! And staring alongside her as Chris, Christian Maynard is wonderful and dynamic. Despite the character of Chris not being entirely likeable, Maynard's intimacy separates him from the boisterous G.I.'s in a nurturing role, with very gentle and soothing vocals to define his honest love for Kim. Together, the pair really define the beauties that Miss Saigon holds.
In terms of showstoppers, the musical has many notable moments, fearing the applause would never end sometimes! Though at the end of the performance, myself and my mum both jumped immediately to The American Dream!!. Led by Joanna Ampil as The Engineer, this number is incredibly charming, with a comical style which utterly steals my heart. For the first couple of minutes, Ampil is isolated onstage, and her stage presence fills the room with confidence, commanding with movement and endearing wit. The glamour of the second half is a relieving moment of joy to contradict the tensions of Act 2. Traditionally, The Engineer is a male role, though as my first experience of Miss Saigon in this non-replica form, I couldn't imagine an actress better than Ampil to perfect the role. The feminine qualities allowed a greater cheekiness with the G.I.'s in Dreamland. But also, she holds a maternal quality with the girls, which is an investing relationship to see develop. I also wanted to give a mention to Riley Woodford as G.I. / Ensemble across the show, where I can really see his characterisation shine in songs such as What A Waste and The Heat Is On In Saigon. He exactly encapsulates the excitable childishness of the American soldiers, in both funny and intimidating ways.
We were seated in seats A3 and A4, immersed on the front row to the side of the stage. At numerous moments, the ensemble come to sit in front of us on benches, lining the perimeter of the stage a mere couple of feet away from us. This is a rare convention, though I completely fall in love, representing a variety of themes. Whether it be ghosts of the past or the omniscience of war power, these observant passive states enhance the unsettling atmosphere of the show. The essence of storytelling is increasingly powerful, with movement playing a big part. A physical theatre sequence to follow the motion of a raft in water is mesmerising, where minimalism is perhaps more successful than any previous production of Miss Saigon, highlighting people and community as the forefront of the tale. Additionally, Andrzej Goulding's video design is brilliant, especially for those new to the production to define settings and times of the action. It also allows for projection in a propaganda effect during The Morning Of The Dragon, which makes me shrink back into my seat in forceful and intimidating power, alongside aggressive and sharp choreography from Jade Hackett.
The Crucible Theatre renders pure magic with Miss Saigon. This non-replica makes me consider not only the endless limitations of this musical, but reshaping how adaptable theatre is. Miss Saigon has come with controversies during previous productions. While it isn't necessarily my place to comment on some of these issues, amongst the programme it shows the team have worked incredibly hard in modernising and allowing the musical to become increasingly relevant. This adaptation is intense, incredibly daring, and altogether a show that I will remember for the rest of my life.
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