Review: Miss Saigon (UK Tour)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

A legendary musical has been reborn, as Miss Saigon takes off once more, debuting a brand-new production in an epic tour across the UK, bringing the show to corners of the country it has never been seen before, including Newcastle, where the tour lifted off several weeks ago. I hopped up to Birmingham for its current stop at The Alexandra to finally experience the magic on stage for myself. Having adored the show from afar but having never seen it live before (my biggest theatre regret to date), I worried if this new production would live up to the movie in my mind, or if I would leave the theatre wailing “Why God, Why?” (not for the first time)?

Premiering in the West End in 1989, it originally ran at the Theatre Royal Drury Lane for 10 years, holding the title of the theatre’s longest-running musical. Its 10-year run was matched on Broadway, with the most recent West End revival playing at the Prince Edward Theatre from 2014 to 2016. I walked past that theatre regularly, but never actually bought a ticket to see the show. After it had closed, I watched the incredible filmed production from that run and kicked myself for missing that excellence on stage. That became the catalyst for why I began to see so much in the theatre, years before All That Dazzles was even born, as I didn’t want to miss anything that could be even half as good as I found that show to be. With dreams playing a key theme in the show, mine was to one day experience this magic on stage for myself - having missed the 2023 revival in Sheffield, I knew there was no way I would be missing this one when the tour was announced.

Based on the opera Madama Butterfly, Miss Saigon takes the essence of that story and transports the action to Saigon in the 1970s during the Vietnam War. It centres around 17-year-old Kim, who is forced to work in a bar run by The Engineer, forced to do whatever he tells her to. When she is told to spend the night with an American GI named Chris, they unexpectedly fall in love with each other. Separated by the fall of Saigon, Kim spends years trying to survive and find a way back to her love, to unite him with the son he doesn’t know exists.

Written by Alain Boublil and Claude-Michel Schönberg, the masterminds behind the similarly legendary Les Misérables, Miss Saigon resembles that other classic in several ways, with key themes, lyrics and melodies matching this distinctive style. The result is a story full of heart and humanity with more than a sprinkling of sorrow and tragedy. The pair’s ability to create characters that are so easy to fall in love with, eliciting empathy for their plight, is perfectly demonstrated with the creation of Kim. With much of the show played out through her eyes, we are given a deep understanding of what is important to her, longing for a happy resolution to the story. Though in parts the story is less miserable than Les Misérables, the gut-punch of an ending affected me more than anything in that other show, which regularly reduces me to tears.

The greatest tool in the armour of Miss Saigon is its soaring collection of songs. Having listened to many of them on repeat for the last decade, it was thrilling to see them in their original context, bringing a sense of poignancy to the heartfelt lyrics and glorious melodies. ‘The Movie In My Mind’, ‘Why God Why?’ and ‘The Last Night Of The World’ must rank among some of the finest songs ever written for a musical, but it is in Act One closing number ‘I’d Give My Life For You’, where magic truly happens, with the raw emotion of that number piercing my heart and leaving me lost for words as the interval began (something that rarely happens, I can assure you).

That aforementioned number was impeccably performed by Bea Ward, on at this performance as the alternate Kim (otherwise played by Julianne Pundan, pictured). A fine example of the power of understudies and ensembles, Ward delivered a faultless performance throughout with her phenomenal vocals reaching incredible heights on her biggest musical numbers, including ‘I’d Give My Life For You’. There was a real warmth to her character that beautifully embodied the spirit of Kim and made it clear to see why Chris had fallen in love with her. Performed with sensitivity and authenticity, Ward’s Kim is up there with the legends that have played the role before her, and formed the necessary heart of the musical.

As Chris, Jack Kane had his moments to shine, particularly on a stunning ‘Why God Why?’, while Emily Langham was a highlight as Chris’s wife, Ellen. Her note-perfect rendition of ‘Maybe’ was only eclipsed by her duet with Ward’s Kim, ‘I Still Believe’ in an emotive and very real performance. An early standout belonged to Ace as Gigi with the incredible ‘The Movie In My Mind’, while one of the vocal performances of the night belonged to the always sensational Dominic Hartley-Harris for his performance of Act Two opener ‘Bui Doi’. One of the more defining numbers of the musical and an undoubted classic in itself, Hartley-Harris used all of his acting and vocal abilities to maximise the impact of the heartbreaking ballad, once again showcasing why he has taken on some of the biggest characters and greatest musical numbers throughout his illustrious career so far.

Though Kim is at the heart of Miss Saigon, the narrative is furthered along by The Engineer, a demanding role that requires no shortage of versatility and stage presence. Step forward, Seann Miley Moore. In an astonishing feat of acting, Moore thrills at every turn, with their ability to perform multiple voices in quick succession bringing something new to the character, plunging The Engineer into the 21st Century with quick-witted lines such as “It’s giving white privilege” and a hilarious pause on the word “country” (I’ll let you work that one out for yourself). Full of eccentricity and danger, Moore flirts their way through the cast and the audience, making lewd remarks and simultaneously pulling the strings while having no real power, desperate to make a better life. It is in their climactic performance of ‘The American Dream’ where Moore’s talents really shine in an absolutely showstopping number, delivered flawlessly. 

Directed by Jean-Pierre Van Der Spuy, this new production of Miss Saigon scales down the action from its usual large West End houses to make it work in various-sized stages around the country. It may not have the same spectacle it did in previous runs, and there is no huge helicopter reveal for obvious reasons, but it still retains the same impact, losing nothing through some clever choices that still make the production feel grand at all times. The way the helicopter scene takes place is inspired in itself, ensuring this pivotal moment is as awe-inspiring as ever before. Andrew D Edwards’ design ensures Miss Saigon is as visually thrilling as it ought to be, with a particularly striking use of lighting from Bruno Poet and gorgeous projections from George Reeve, creating an overall visual aesthetic that stimulates.

My first visit to Miss Saigon was everything I had hoped it would be and more. One of the all-time greats, this sensational musical is up there with the very best, and this production is a worthy addition to its enduring legacy. Touring into 2026, I hope there are more chances to see this production beyond that, with a West End return feeling overdue but certainly possible. A story full of beauty and sorrow, this musical tugs at the heartstrings throughout, and with a sensational cast at the helm, this is one Saigon you won’t want to miss.

Miss Saigon tours around the UK until 8th August 2026.

Select dates and tickets here

Photos by Danny Kaan