JADAR

★★★★☆

First premiering in London in 1989 and transferring to Broadway in 1991, where it ran for 10 years, Miss Saigon is a global phenomenon – loved, criticised, and ever popular. On opening night at the Palace Theatre, with every seat packed, this national tour still feels like the classic musical audiences can’t get enough of.

This all-new tour, directed by Jean-Pierre Van Der Spuy, follows the famed love story of Kim, a 17-year-old Vietnamese girl forced into sex work after her village is destroyed, and Chris, an endearing American marine determined to save Kim from her life in Saigon. After they are separated at the end of the Vietnam War, Kim resiliently bears Chris’s child alone and vows to reunite her son with his father in America.

Miss Saigon is undoubtedly a controversial show, and although the current tour and recent Sheffield Theatres production (which was produced and designed by an Asian team) have made strides forward in representation, the story itself still leans heavily on orientalist and white-saviour stereotypes. Some of the more glaring faux pas have been adapted: the original sequence of ‘The Morning of the Dragon’, which featured conical hats and a red dragon puppet, has been replaced with Vietnamese marionette-style puppets, and the costume design of the bar girls in Saigon and sex workers in Bangkok have been updated to be less revealing and less stereotypically orientalist. Yet, despite these updates, the core issues remain embedded within the storyline.

The production design by Andrew D. Edwards felt remarkably impressive for a touring show. It was a joy to witness the craftsmanship and attention to detail, as the set effortlessly transformed the Palace Theatre into Saigon, Ho Chi Minh City, Atlanta, and Bangkok using a revolving stage that seamlessly adapted around large set pieces. While iconic elements such as the full moving helicopter were absent, the lower half of the vehicle was recreated effectively with a fresh design, and the striking image of soldiers being lifted into the air remained unforgettable.

Lighting design by Bruno Poet was equally impressive, guiding the audience through the performance – from intimate, gentle moments highlighting Kim’s heartache to the more intense sequences capturing the brutality of the Vietnam War with flashing lights and dynamic intensity. 

Miss Saigon’s soundtrack remains iconic, and the performances across the company are widely outstanding. Choreography by Chrissie Cartwright and Carrie-Anne Ingrouille is incredibly dynamic, working seamlessly with the new production changes in this tour.

The Engineer (Seann Miley Moore) is particularly remarkable – an undeniable scene-stealer. Moore reprises the role after touring internationally with Miss Saigon in 2023, and has completely reimagined the character as the “Engin-queer,” as he coins it in an interview with BroadwayWorld. Moore’s rich, camp interpretation feels so right that it makes you wonder how every previous portrayal wasn’t already played this way, swathed in opulence. He sparkles throughout, becoming utterly unhinged during ‘The American Dream’ – performing most of the number alone and bare on stage with no props or elaborate costume, before exploding into full Uncle Sam, complete with ensemble dancers and a giant dollar sign suspending him in the air.

Julianne Pundan makes her professional debut as Kim, and it is thrilling to witness such an extraordinary performance from a brand-new performer fresh out of training. Her portrayal is saturated with real strength and presence. Jack Kane is charming and endearingly goofy as Chris, though slightly vocally understated compared to previous actors in the role. The chemistry between Pundan and Kane is beautifully realised, with every moment carefully choreographed so that the audience can feel the heartbreak of Kim’s loss upon the reveal that Chris has remarried in America.

Emily Langham’s Ellen is strong and poised, playing the heartbroken wife and rival to Kim for Chris’s heart. Though she occasionally slips in and out of an American accent – a surprising distraction given the standard of the rest of the performances – she remains compelling. Ace, as Gigi, is another standout: powerful, moving, and genuinely heartbreaking. The entire ensemble of bar girls is exceptional, another highlight of the show. Mikko Juan is striking as Thuy, a Vietnamese soldier who believes himself betrothed to Kim.

Gasps echoed around the auditorium as tiny six-year-old Theo Dominic Torres, as Kim’s infant son, Tam, walked onto the stage. There’s such novelty in seeing young children performing in a production of this scale, and he delivered an impressive performance despite the potentially frightening scenes around him.

This touring production of Miss Saigon is, overall, impressive, and the best production I’ve seen at the Palace Theatre Manchester in recent years. The cast delivers powerhouse performances that capture both the spectacle and emotional weight of the original, while updates aim to meet contemporary standards. Despite these fortes, the story itself remains troubling, with its controversial representations continuing to challenge modern audiences.

Miss Saigon runs at Palace Theatre Manchester until November 15 2025. Due to phenomenal demand, it will return from August 4 to 8 2026 – currently the last stop of its UK tour.

Photo: Danny Kaan