As someone who has always been enchanted by the allure of West End and Broadway productions, Miss Saigon has long been on my list of must-see musicals. The show’s rich history, dramatic plot and the legendary performance by Lea Salonga as Kim have solidified its place in the pantheon of great musicals. So, when I heard that Miss Saigon was coming to Singapore, I jumped at the chance to finally witness this iconic production.
Miss Saigon is a retelling of Puccini’s Madame Butterfly, set against the backdrop of the Vietnam War. The story follows the tragic romance between Kim, a young Vietnamese woman, and Chris, an American GI. Their love affair, born out of the chaos and desperation of war, is doomed from the start, making for a gripping narrative filled with emotional highs and lows. With such a powerful story at its core, and knowing the accolades it has garnered over the years, I walked into the theatre with high expectations.
This was my first time watching Miss Saigon, and I must say, it might very well be my last. The performers, while certainly competent, lacked the spark that makes a musical truly memorable. The chemistry between the female lead (played by Abigail Adriano) and the male lead (played by Nigel Huckle) was lacking. Their interactions felt forced, as though they were simply going through the motions rather than conveying a deep, passionate love story. It was especially disappointing given the shoes the actress had to fill; Lea Salonga’s portrayal of Kim is the stuff of legend, having won her accolades and fans around the world. Unfortunately, the current production’s Kim fell short of this high bar, delivering a performance that was, at best, lacklustre.
Photo © Daniel Boud
The male lead Huckle, too, failed to leave a lasting impression. His portrayal of Chris lacked the emotional depth and nuance that the character demands. Chris is a man torn between duty and desire, between two worlds, but this complexity was not effectively communicated. Instead, the performance felt one-dimensional, making it difficult to invest in the character’s journey or to feel the weight of his decisions.
One might argue that even if the leads are underwhelming, a strong supporting cast can carry the show. Unfortunately, this was not the case here. Most of the supporting characters faded into the background, their performances neither adding to nor detracting from the overall production. The only exception was The Engineer (played by Seann Miley Moore), the scheming, opportunistic pimp who drives much of the plot. His performance was the lone bright spot in an otherwise uninspired evening. The actor playing The Engineer brought energy, charisma, and a certain devilish charm to the role, making him the most compelling character on stage. It’s a shame that the rest of the cast didn’t rise to his level.
Photo © Daniel Boud
Then there’s the music—a critical component of any musical. Miss Saigon boasts a score by the legendary duo Claude-Michel Schönberg and Alain Boublil, the same minds behind Les Misérables. I was looking forward to hearing the powerful ballads that I had heard so much about. But to my surprise, the songs didn’t resonate with me. They were forgettable, failing to evoke the emotions or leave the lasting impact that one expects from a top-tier musical. Even now, I struggle to recall any of the tunes that played throughout the evening. This is a stark contrast to other musicals where I’ve found myself humming the songs long after the final curtain.
The one saving grace of the production was the set design. The helicopter scene, in particular, left a deep impression. The sheer scale and technical prowess required to pull off such a feat on stage is commendable, and for a brief moment, I was reminded of the magic that theatre can create. The way the set transported the audience to a different time and place, making us feel the tension and chaos of the evacuation, was nothing short of spectacular. However, even this could not redeem the overall experience.
Adding to my disappointment were the seats I had. While I understand that not every seat in the house can offer a perfect view, I was dismayed to find that my view was consistently blocked by the heads of those in front of me. This, coupled with the already underwhelming performances, made it difficult to fully immerse myself in the show. It’s disheartening when what should have been an evening of enchantment turns into one of frustration.
My first experience with Miss Saigon in Singapore was far from the awe-inspiring night I had hoped for. What I anticipated to be a night of theatrical magic turned out to be a rather disappointing experience. While The Engineer’s performance and the impressive set design provided some moments of enjoyment, the overall production fell flat. With lacklustre performances, forgettable music, and poor seating, I find myself reluctant to ever watch Miss Saigon again. It’s a shame, really, but sometimes, the reality doesn’t live up to the legend.
Miss Saigon is currently showing at Sands Theatre, Marina Bay Sands.
