Jon Jon Briones in a scene from the London production of MISS SAIGON. Photo by Michael Le Poer Trench and Matthew Murphy.
Music by Claude-Michel Schönberg
Lyrics by Richard Maltby Jr. and Alain Boublil
Adapted from original French Lyrics by Alain Boublil
Additional Lyrics by Michael Mahler
Directed by Laurence Connor
Musical staging by Bob Avian
Additional choreography by Geoffrey Garratt
Cast: Jon Jon Briones, Eva Noblezada, Alistair Brammer, Rachelle Ann Go, Katie Rose Clarke, Nicholas Christopher, Devin Ilaw
Scenic Design: Totie Driver and Matt Kinley, based on an original concept by Adrian Vaux
Costume Design: Andreane Neofitou
Lighting Design: Bruno Poet
Sound Design: Mick Potter
Projection Design: Luke Halls
Orchestrations: William David Brohn
Musical Supervision by Stephen Brooker
Musical Direction by James Moore
First Performance March 1, 2017
Opening March 23, 2017
Final Performance January 13, 2018
Submit a review for Miss Saigon
Direct from its smash London run, Cameron Mackintosh’s acclaimed new production of Boublil and Schönberg’s legendary musical MISS SAIGON is about to land on Broadway, featuring its acclaimed stars Jon Jon Briones, Eva Noblezada, Alistair Brammer, and Rachelle Ann Go.
In the last days of the Vietnam War, 17-year-old Kim is forced to work in a Saigon bar run by a notorious character known as the Engineer. There she meets and falls in love with an American G.I. named Chris, but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.
Don’t miss the production that the London Times calls “Thrilling, Soaring and Spectacular” when it comes to Broadway for a limited engagement.
Ben Brantley – New York Times
This despite the hard and dedicated work of its earnest cast, which includes a slithery Jon Jon Briones as an enterprising Vietnamese pimp, a dewy Eva Noblezada as a heroic country girl and Alistair Brammer as the American soldier who loves and leaves her. Though it sets off inevitable topical echoes with its tableau of asylum-seeking refugees, the show still mostly comes across as singing scenery.
Marilyn Stasio – Variety
This is what people mean when they talk about “a Broadway show” — melodic songs, big, beautiful voices, a huge ensemble, full-scale pit orchestra, sumptuous production numbers, and the spectacle of lavish sets and special effects. Something just like this big-time revival of the 1991 mega-hit “Miss Saigon,” by the same folks — Alain Boublil (book & lyrics) and Claude-Michel Schonberg (concept, book & music) — who brought “Les Miserables” to Broadway’s spectacle lovers.
David Rooney – The Hollywood Reporter
However, that doesn’t mean there’s any less urgency or investment in the love story, which is grounded with transfixing emotional transparency by the exquisite Eva Noblezada as Kim, the 17-year-old peasant girl from the napalmed Vietnamese countryside, driven by circumstance into prostitution in Saigon. For a start, Noblezada easily passes for a teenager; secondly, her vocals have an expressive range and sweetness that cuts through all the noise and busy-ness that surrounds her. She’s a legitimate discovery, just as Salonga was the first time around.
Breanne L. Heldman – Entertainment Weekly
In general, this new iteration, under the direction of Laurence Connor (School of Rock), has a more appropriately gritty feel than the show had in the ’90s, from the physical set to the portrayal of Americans and the consequences of war. Still, it’s a pretty darn schmaltzy show to begin with.
Jeremy Gerard – Deadline
Still, Miss Saigon was, and is, a phenomenon, and this production, directed by Laurence Connor, is sensational in every way: visually and sonically (often painfully so). Most important, it’s brilliantly cast, to continue the baseball analogy, with leads from the Mackintosh farm team who are more than ready for the big leagues.
Robert Kahn – NBC New York
The “Miss Saigon” revival opening tonight at the Broadway Theatre, the same venue where it originally ran, arrives without a casting brouhaha, but with a similarly elaborate staging, which at times vies for attention with the talented cast. Is there a Tony category for Best Appearance by a Luxury Sedan Emitting Pheromones? Can there be?
Linda Winer – Newsday
And yet, while all the greatest-hits sensations are robustly accounted for in director Laurence Connor’s revival, there are differences, too. Most obviously, many of the main roles and, especially, The Engineer — originally played by the dazzling white actor Jonathan Pryce — are brilliantly cast with powerhouse Asian-Americans. Jon-Jon Briones has a coarse, sleazy, scary opportunism — and some nifty dance moves — as the profiteering pimp who survives the French, the Americans, Ho Chi Minh and even the tourists because, as he sings, “Men will always be men” and want what he’s selling.
Matt Windman – AM New York
Brammer’s Chris is fresh-faced but overwhelmed and on the verge of falling apart. Noblezada impressively shifts back and forth from polite young girl to tough and tragic heroine. Briones, as the show’s most compelling and unhinged character, is aggressive, authoritative, unpredictable and absolutely electrifying.
Matthew Murray – Talkin’ Broadway
For this mounting, though, the writers (now joined by Michael Mahler, who provided “additional lyrics”) and director Laurence Connor have striven to strip everything but the helicopter of that “mega” status. And without it, not only does Miss Saigon not work, it barely registers.
Robert Hofler – The Wrap
“Miss Saigon” updates “Madama Butterfly” to the Vietnam War and the fall of Saigon. But in place of Puccini’s Humming Chorus we get the roaring rotary blades of a helicopter landing in front of the American embassy. This famous set piece has all the emotional thrill of several express trains barreling through the subway while you stand there stuck, waiting for the local.
Roma Torre – NY 1
Just as we were sounding the death knell for the big spectacle on Broadway, along comes “Miss Saigon.” Bucking the trend of re-staging famed mega-musicals in stripped-down revivals, the show’s creative team brings back the sprawling splendor and, yes, the helicopter that fans of the 1989 musical came to know and love so well. But does it fly, you may ask? Oh yes, “Miss Saigon” soars to the rafters.