Review: Miss Saigon

06-05-26 Bradford Alhambra by Stuart Clarkson

When Miss Saigon first premiered in the late 80s, it quickly established itself as one of musical theatre’s most visually spectacular and emotionally devastating productions. It’s current UK tour, which we saw at the Bradford Alhambra this week, keeps the dream alive.

From the opening scene we are swept into war-torn Saigon during the final days of the Vietnam War. For those new to the story: 17 year old Kim is forced to work in a bar run by ‘The Engineer’. There she mets and falls in love with an American GI called Chris, but they are torn apart by the fall of Saigon – taking Kim on a journey of survival to find her way back to Chris, who has no idea he’s fathered a son.

The songs are penned by Les Miserables writers Claude-Michel Schönberg and Alain Boublil. And here’s the controversial bit: even though I love Les Mis, the music of Miss Saigon punches even higher for me. I’d Give My Life For You and I Still Believe beat I Dreamed A Dream and On My Own in my view. The Morning of The Dragon is more epic than At The End Of The Day, and I’ve not really stopped humming the anthemic This Is The Hour since I walked out of the theatre.

It’s more than 20 years since I last saw Miss Saigon and a few things have changed – including a scaling down of the fall of Saigon flashback in Act 2. The high fence is gone and the helicopter is much smaller, but effective use of sound and lighting techniques still brings the chaos of the scene to life.

At the centre of the production is an outstanding performance from Julianne Pundan as Kim. Making her professional debut, she delivers a performance of remarkable emotional depth, balancing innocence, vulnerability and fierce determination throughout. Opposite her, Jack Kane brings warmth and believable conflict to the role of Chris, capturing both the romance and guilt at the heart of the story.

The show is frequently stolen, however, by Seann Miley Moore as The Engineer. Reprising the role after acclaimed performances on the international tour, Moore brings charisma, dark humour and extraordinary stage presence to every scene – along with an astounding vocal range. The character remains sleazy and morally absent – but Moore’s portrayal adds a cheekiness and many laugh-out-loud quips which are played just right to create comic relief among the heartbreak of the surrounding scenes. Moore’s energy levels never dip, building to a crescendo for their show-stopping rendition of The American Dream.

Supporting performances are equally strong. Dominic Hartley-Harris gives real emotional weight to John, with a beautiful soulful version of Bui Doi, while Emily Langham brings sensitivity and humanity to Ellen – avoiding the role becoming simply an obstacle in the story’s central romance.

Visually, the production remains breathtaking. The set design is simple but highly effective – making good use of a rotating stage element and modular cages with added staircases. The lighting and projections give the entire show a cinematic quality. When this is combined with clever use of white sheets prop face masks and puppet-like choreography it creates a visually interesting new way to present the military transition of power in The Morning Of The Dragon.

And a brilliant orchestra does full justice to Schönberg’s magnificent score, moving effortlessly between intimate ballads and thunderous ensemble numbers.

Miss Saigon remains one of the defining mega-musicals of its era. Emotional, visually stunning and musically unforgettable – and last night’s standing ovation at the Bradford Alhambra felt entirely deserved.

The Miss Saigon UK tour continues through until early August with dates coming up in Norwich, Derry, Cardiff, Glasgow, Birmingham, Blackpool, Canterbury, Bristol and Manchester. There will also be a limited run back in the West End at the Prince Edward Theatre from 13th May 2027.

Visit the official site HERE