Miss Saigon – Crucible Theatre, Sheffield

Shane O’Riordan and Joanna Ampil in Miss Saigon at the Crucible Theatre, Sheffield. Picture: Johan Persson

Miss Saigon continues at the Crucible Theatre, Sheffield until 19 August 2023.

Star rating: four stars ★ ★ ★ ★ ✩

Saigon, 1975. Dreamland. Sheffield Theatres’ 2023 revival of Miss Saigon opens the first ever regional non-replica production of this musical theatre giant in its familiar setting. The opening scene, however, immediately signals that this ‘reimagined’ production is taking a different direction.

The Engineer is played, for the first time, by a female actor: the formidable Joanna Ampil, who originally rose to fame playing Kim in Miss Saigon over 20 years ago, provides a fresh take on the role that comes with some thrilling new musical moments. And in an explicit attempt to distance herself from previous renditions of the sleazy brothel-owner, the overture sees her consider and decisively reject the familiar red blazer that has distinguished the character for so long.

Controversy has followed the musical since its premiere in 1989, and has grown in recent years. The mere announcement of this production prompted one theatre company to cancel their upcoming play at Sheffield Theatres.

Directors Robert Hastie and Anthony Lau make a valiant effort to revise and retell the musical, with the permission and aid of the original team including producer Cameron Mackintosh and composer Claude-Michel Schönberg. References to Vietnamese ‘half-breeds’ are swiftly removed, and Jessica Lee portrays a Kim with more poise and authority – an impressive feat considering we still feel with full force the tragedy of her raw and constant suffering.

Some excellent staging makes a real impact. Act I ends with a harrowing boat journey to Bangkok, which serves to shine a much-needed spotlight on the experiences of those displaced by the conflict. ‘Bui Doi’ doesn’t just steal the show thanks to Shane O’Riordan’s commanding vocals, it’s also because of the staging – initially set in a group counselling session – which challenges the glamour of earlier renditions with an air of vulnerability and guilt.

Aynrand Ferrer demonstrates the cast’s vocal strength from the outset as Gigi, her character hauntingly reprised in Act II. Lee and Christian Maynard deliver exceptional and varied vocals and a poignantly convincing love story that makes ‘Last Night of the World’ a showstopper. The iconic helicopter sequence hits with full force, bringing a heart-breaking new level of tragedy to the scene.

The orchestra, under the direction of Chris Poon, makes the most out of a truly beautiful score, and excellent choreography from Jade Hackett shines through the ensemble numbers.

This production certainly isn’t hurt by an exceptional score and the devastating themes of love, loss and suffering remain as powerful as ever. It perhaps falls just short of the wholescale ‘reimagining’ billed by the directors, but there are thoughtful revisions.

In fact, this production remains a refreshing new look on a musical theatre big-hitter, managing to challenge perspective and narrative while retaining the original’s tragic power.

Billy Nicholles