There are two camps of viewers when it comes to ‘Miss Saigon’, once hailed as the greatest musical of all time — those who see it as the epic story of star-crossed lovers and those who have read the Wikipedia entry listing the musical’s many controversies.
And while Cameron Mackintosh’s 2014 West End revival of the classic musical brought with it stunning visuals and compelling performances, it also raises the inevitable question: Does this musical really need a revival?
Photo courtesy of Daniel Boud
Twenty three years after its last local performance, the ‘Miss Saigon’ musical was met with considerable anticipation.
Leaving a legacy of 70 major theatre awards, there is no doubt that ‘Miss Saigon’ has cemented its place as one of the greatest musicals of all time. However, this legacy is also fraught with controversy.
A re-imagination of an equally problematic opera, Puccini’s ‘Madama Butterfly’, ‘Miss Saigon’ was created by Claude-Michel Schönberg and Alain Boublil, the minds behind the equally renowned ‘Les Misérables’.
Since its debut in 1989, ‘Miss Saigon’ has faced scrutiny for its portrayal of Orientalism, racism, and sexism.
Photo courtesy of Daniel Boud
At its core, ‘Miss Saigon’ tells the story of Kim (Abigail Adriano), an orphaned teenager who had been forced to work at a Saigon brothel managed by the manipulative Engineer (Seann Miley Moore) during the 1970s Vietnam War.
On her first night, she meets Chris (Nigel Huckle), an American GI. Despite the bleak circumstances surrounding them, they fall in love.
However, the hasty withdrawal of US forces at the end of the Vietnam War leaves Kim to wait for Chris’s return, clinging to the hope of a reunion and caring for a son that Chris did not know even existed.
Tragically, she later decides to give up her child, believing he would have a better life in America.
Photo courtesy of Daniel Boud
From afar, it is easy to mistake the musical for an epic love story that withstands the test of war and distance. Watching up close, one realises fairly quickly why the original story had garnered controversy.
Technically, this revival excels with its grand sets, immersive lighting, and lively choreography, bringing the grim realities of war to life.
The helicopter scene was particularly gripping, with a bombastic almost immersive set, an emotionally arresting chorus of ‘The Fall of Saigon’, and a stark representation of the brokenness that the war had left behind on the residents of Vietnam.
Photo courtesy of Daniel Boud
The production showcased Asian actors in the lead roles, a far cry from the musical’s original racist casting that had Caucasian actors playing Asian roles, and it eliminated some of the more offensive aspects found in past productions.
For instance, actual Vietnamese words were used in the production, particularly in the wedding scene, instead of unintelligible gibberish from the original script.
Photo courtesy of Daniel Boud
Another refreshing divergence from the original portrayal of the brothel girls in the original musical was Kiara Dario’s character Gigi, who exuded a certain strength, an almost brat energy that the more contemporary audiences would relate to.
Categorically, the cast was no short of phenomenal, captivating with their powerful vocals as they showcased Schönberg and Boublil’s demanding score.
Photo courtesy of Daniel Boud
Adriano embodied the role that had made stars of the likes of Lea Salonga and Eva Noblezada and did it absolute justice, hitting all the notes in her soaring ballads with raw passion and poignancy.
It almost makes up for the fact that the character of Kim is no more than a caricature of a demure Asian woman waiting for a white man to save her from her circumstances.
Photo courtesy of Daniel Boud
In the same way, it is unfortunate that Huckle’s Chris has all the makings of the stereotypical white knight.
While Huckle felt at times overshadowed by his character’s challenging songs and certainly, in the first act, it was hard to see him beyond “that white dude”; by the second act, his performance became rife with an emotionality that gave his character some semblance of likability.
Photo courtesy of Daniel Boud
However, if there was one show-stealer, it would have to be Seann Miley Moore. His portrayal of The Engineer is a standout, infused with a queer, flamboyant energy that redefines the character.
In all of his scenes, the applause was noticeably louder, the audience’s attention more rapt. He overshadowed every character — to both the detriment and benefit of the show.
This remake of The Engineer’s character is a welcome feature of this production and gives it a more contemporary flair. However, this progressive twist does little to uplift the problematic themes that underlie the story.
Photo courtesy of Daniel Boud
Laurence Mossman’s debut as Thuy, Kim’s betrothed who later becomes a soldier (and then leader of the North Vietnamese Army) is also notable, though the character in itself is a part of the outdated East versus West dichotomy.
The new song “Maybe,” performed by Chris’s American wife Ellen (Kerry Anne Greenland), enriches her character, portraying her more sympathetically, though it’s hard to ignore the fact that when the two female characters vying for Chris’ love finally met, they failed the Bechdel test.
Despite these successful efforts to modernise, this production ultimately falls short. The pervasive themes of ‘Miss Saigon’ continue to propagate an outdated and troubling narrative, leaving one questioning its relevance.
Photo courtesy of Daniel Boud
While the technical and performative aspects of this revival make it a visual feast, they cannot fully mask the broader issues with its story and themes.
Contemporary audiences may find themselves distanced from the musical’s themes and its characters. The dichotomy of East and West, along with the historical context of cultural superiority, seem out of place in a performance meant to resonate with today’s viewers.
Photo courtesy of Daniel Boud
As the theatre scene continues to thrive with works that spotlight Asian talent and narratives, one hopes this revival of ‘Miss Saigon’ will be the last echo of an era that no longer serves its intended purpose.
The future of musical theatre lies in stories that are not only grand in spectacle but also rich in relevance and authenticity.
So perhaps it’s time to stop rewriting old stories and start writing new ones.
Organised by Base Entertainment Asia, Miss Saigon is playing at Sands Theatre at Marina Bay Sands until 29 September. Tickets can be bought here.
Also read: Hamilton in S’pore: A clever romcom disguised as an American period piece
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Featured image adapted from images by Daniel Boud.
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