Photo / GMG Productions
Miss Saigon has close ties to the Philippines. At the press conference before the new production opened in Manila, the musical’s composer, Claude-Michel Schönberg, revealed that the show could never have opened without the Philippines.
He said, “Back then, there weren’t many Asian performers on the international stage. It’s in Manila that we found 75 members of the original cast, and it was a revelation to us the amount of talent in this country.”
Miss Saigon opened at the West End in 1989, introducing many talented Filipinos worldwide, including Lea Salonga, Jon Jon Briones, and Isay Alvarez. It would later cast more local talents. According to Schönberg, more or less than 250 Filipinos have already been part of the production since 1989.
Photo / GMG Productions
The musical’s love for Filipino talent is perhaps another reason Miss Saigon has so many admirers here.
A new production opened in Manila on March 23, 2024, and the show is guaranteed to make more fans here, as the show boasts a powerful cast and a breathtaking production. There are no other words for it: it looks and sounds good.
Abigail Adriano, a Fil-Australian actor, plays Kim and is incredible. She has the sweetness and vulnerability needed in “Sun and Moon,” but when you’re about to brush her off as a Yearning Girlie, she masterfully switches to strong and powerful in “I’d Give My Life for You.” While I’m not the biggest fan of the story, I appreciated how Adriano portrayed Kim as a woman with agency over herself.
A character that I did not expect to love is the Engineer, played by Seann Miley Moore, another Fil-Australian. The Engineer is historically a showman, especially in “The American Dream.” Moore, however, takes it up by at least 10 notches and transforms the role into a queer character. He is an electrifying presence on stage, and he has indeed brought the musical to life. After you see the Engineer as queer, it’s hard to see him any other way.
Adriano and Moore are supported by a powerhouse cast that brought the house down with their talent. Nigel Huckle gave a heartwrenching performance of “Why, God, Why?” with vocals to match. Lewis Francis, who plays John, stole the show with an impressive rendition of “Bui Doi.” Laurence Mossman, a Kiwi-Filipino actor, was terrifying as Thuy.
Kiara Dario, a homegrown actor, deserves her flowers as Gigi, one of the bargirls in Dreamland. She has an extensive lineup of credits in the Philippines, like Camp Rock, Annie, Chitty Chitty Bang Bang, Ang Huling El Bimbo, and Snow White and the Prince. Miss Saigon marks her first international tour, and it is well-deserved. While I know that the Miss Saigon text is canon and can no longer be changed, I would love to see what happens to Gigi after “The Heat is On in Saigon.” Gigi is a compelling character, and it would be great to see what happens next. She’ll be portrayed by Dario, of course.
Photo / GMG Productions
The actors give it their all amidst an impressive set. You are in a Saigon brothel one minute, and the next, you’re transported to the streets of Vietnam, the US, and then a club in Bangkok. Perhaps the most magnificent scene in the musical is when a helicopter arrives on stage to evacuate the remaining Americans in Saigon. This was even better than the movie in my mind.
Miss Saigon has its fair share of controversies, but I’m not here to discuss that. Regardless of your opinion of the story, the musical is still a must-watch. Overall, Miss Saigon shows how you can create magic in a rectangular space with just the cast, lights, props, and costumes. Once the lights dim and the curtains rise, you’ll definitely feel the heat in Saigon.
The Miss Saigon Asia Tour continues at The Theatre at Solaire with no further extensions and extremely limited tickets. Tickets are available exclusively through TicketWorld, with the best availability for mid-week performances. Take advantage of the opportunity to witness the show until May 12, 2024.
Miss Saigon has music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil, adapted from original French lyrics by Alain Boublil, with additional lyrics by Michael Mahler.
The new production is directed by Laurence Connor, with musical staging by Bob Avian and additional choreography by Geoffrey Garratt. Its production design is by Totie Driver and Matt Kinley, based on an original concept by Adrian Vaux; costume design by Andreane Neofitou; lighting design by Bruno Poet; projections by Luke Halls; sound design by Mick Potter; and orchestrations by William David Brohn. Music supervision is by Alfonso Casado Trigo and Guy Simpson.
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