By Michelle Rawlins
Miss Saigon has received its fair share of criticism in recent years. Accusations of misogyny, stereotypical role casting, damaging tropes and racism have surrounded the musical.
But this latest, highly anticipated production by Sheffield Theatres boldly brings back to life this phenomenal, heart-rendering epic, with a thoughtful and refreshing take.
In this first time non-replica production, directors Robert Hastle and Anthony Lau, have worked hard to address the opposition they fell victim to after one theatre company pulled out of staging their own production at the venue.
CHANGES MADE TO THE PRODUCTION
There’s a diverse and culturally considered cast. Lyrics have been modified in collaboration with the show’s original writers. Other changes have been made too, including, for the first time, a female Engineer. She’s superbly performed by Joanna Ampil. Her majestic vocals are showcased throughout – not least in The American Dream Marilyn Monroe esq style number. But she also creates a mysterious character. Instead of simply being a loathful, scheming pimp, this Engineer has her own complex back story. It’s something which, on the whole, the audience can find some sympathy with.
The narrative still follows the well-known musical storyline by Alain Boublil and Claude-Michel Schonberg. But this pared-back adaptation, a reimagining of Madama Butterfly, makes room for stronger, more determined women.
And the soldier who falls in love Kim, the innocent, out-of-luck sex-worker, has been replaced by an African-American GI. Christian Maynard’s almost soulful voice complements his character. He battles against his own conscience for leaving behind the girl he fell in love with to somehow survive in the war-torn country.
CLEVER CHOREOGRAPHY, LIGHTING AND SOUND
You don’t see the actual helicopter he departs on. But nor do you need to. Instead the skilful and polished choreography led by Jade Hackett and the cleverly crafted lighting and sound, courtesy of Jessica Hung Han Yun and Mike Walker, do the talking. Both convey the harrowing and chaotic frenzy of those trying to escape the Communist regime. As well as the emotional turmoil of Chris, knowing he may never see his young lover again.
Jessica Lee makes for a magnificent and unflinching Kim. She has a new galvanised steely persona. And though that may not change her fate, it shows a refreshing, more fierce strength of character. Her rendition of ‘I Still Believe’ was breathtakingly faultless. As was her stellar acting, revealing how she can transgress from a feeling of unfaltering and uplifting hope to utter, gut-wrenching, despair. This not least when she realises life won’t have the fairy-tale ending she’d hoped for.
Miss Saigon was always going to be a difficult production to pull off. But this compelling and ambitious piece of theatre combines a phenomenal, thoughtfully-chosen cast, electrifying music and an impressive orchestra, under Chris Poon. Plus Andrzej Goulding’s cleverly produced video and animation. The result not only allows the audience to once again appreciate why Miss Saigon has not only survived the test of time since it first opened in the West End in 1989 but rightly deserved the whole theatre standing ovation it received as the final scenes drew to a close.
On stage until August 19 2023 at Crucible, Sheffield
Tickets here
Photos by Johan Persson