Average rating score for this production
The reviews are in for arguably the biggest West End show opening of the year as Cameron Mackintosh revives his mega-musical Miss Saigon at the Prince Edward Theatre.
Check out press reviews below including Charles Spencer at the Telegraph and Michael Billington at the Guardian.
“Laurence Connor’s production has a cinematic fluency and he keeps the dramatic tension simmering throughout. For all its many merits, however, I find it easier to admire Miss Saigon than to love it.”Read the review
“So how does Boublil and Schönberg’s musical stand up 25 years after its premiere? In this new production by Laurence Connor, it survives very well as a piece of musical storytelling and as a public spectacle. It’s not a show one loves, in the way one does Guys and Dolls or Sweeney Todd, but I found myself watching it with a professional admiration.”Read the review
“Sir Cameron Mackintosh’s revival of the 1980s musical Miss Saigon is staged with such insistent extravagance that it bludgeons its way to success.
Great art? Nope. But big theatre.”
“Laurence Connor’s revival is visually rich. While Bob Avian reprises his choreography from the original show, there’s a lavish new design by Totie Driver and Matt Kinley. Beautifully lit by Bruno Poet, it conveys the opulent sleaze of the Vietnam nightclubs and also creates moments of intimate ardour and panoramic horror. “Read the review
“What do want from a musical… the music? If so, Cameron Mackintosh’s hotly anticipated revival of “Miss Saigon” is home free. In the title role, Eva Noblezada makes an astonishing stage debut. At 18, she has poise, power and a superb voice throughout a seriously wide vocal range. Backed by a cracking 16-piece band and Mick Potter’s expert sound design, she gives the evening true passion. Everyone else busts a gut but their combined efforts look, well, effortful. Crowded with action and technical cues, Laurence Connor’s huge, strenuous production feels staged rather than directed.”Read the review
“… the revelation is Eva Noblezada in her professional debut as Kim. Combining innocence with an incredible vocal range she is the human heart of an impressive production that is fundamentally opera for people who don’t like opera.”Read the review
“Miss Saigon is full of glimpses of, and glances towards, other shows from South Pacific to Pacific Overtures, too, as well as its operatic source. But it remains a striking, occasionally strident, example of musical theatre craftsmanship. I wish it hadn’t been burdened here by over-production, but there’s no question that audiences are getting their money’s worth, and that it will be a massive hit all over again.”Read the review
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