Palace Theatre, Manchester – until 15 November 2025
Reviewed by Charlotte McWilliam
5*****
A Powerful, Reimagined Triumph!
Michael Harrison, in association with Cameron Mackintosh, delivers a stunning reimagining of the Boublil and Schönberg classic Miss Saigon that absolutely does not disappoint. Directed by Jean-Pierre van der Spuy and musically directed by Ben Mark Turner, this UK National Tour production is a poignant way to mark the 50th anniversary of the fall of Saigon and the end of the Vietnam War, capturing every ounce of the story’s tragedy, beauty, and emotional depth.
The show opens with The Heat Is On in Saigon – vibrant, colourful, and bursting with energy. The unity within the cast is instantly clear, setting the tone for an evening where ensemble storytelling shines. Sun and Moon beautifully introduces the tender chemistry between Chris, played by Jack Kane, and Kim, portrayed exquisitely by Julianne Pundan. Their partnership grows with heartfelt sincerity throughout.
Andrew D Edwards’ set design is a triumph. The revolving stage is used to brilliant effect, especially during Last Night of the World, which is tender, cinematic, and gorgeously played. And of course, the iconic helicopter moment in Act 2 is nothing short of spectacular: realistic, gripping, and powerfully staged as the cast is winched to safety.
The Morning of the Dragon brings a striking visual moment, with the masked Ho Chi Minh ensemble performing a puppet-like, tightly choreographed number. Christie Cartwright and Carrie-Anne Ingrouille’s choreography throughout is clever, dynamic, and full of symbolism, particularly with the use of sweeping fabrics that evoke danger, fluidity, and the jester like charm of the Engineer.
Julianne Pundan’s Kim captures the innocence and emotional intensity of the character, at times echoing the youthful purity of Lea Salonga. Her vocals in I Still Believe are breathtaking, deeply connected to the orchestra and delivered with astonishing clarity. Some cast members seem slightly vocally tired in the early scenes, but by mid-Act 1 the whole production finds its full energy, aided by superb lighting design that highlights the metaphorical stains and scars of the story.
A standout in Act 1 is Seann Miley Moore as the Engineer, who absolutely steals the show with charisma, humour, and a delicious edge of danger. This seasoned Engineer excels during his Act 2 showstopper, The American Dream, is a glittering, wild spectacle – part Miss America, part Pride parade, and entirely unforgettable. Moore’s raw energy captures the desperation, delusion, and dark comedy of the character, amplified by Michael Mahler’s additional lyrics that inject modern relevance and wit throughout.
The arrival of Kim’s young son brings a collective “awww” from the audience—he’s endearing, natural, and a heartbreaking reminder of the war’s impact on families, especially felt by the mothers watching.
Vocally, Dominic Hartley-Harris (John) is a powerhouse – rich, warm, and emotionally grounded, with significant echoes of Broadway quality. His portrayal brings integrity and heart to the difficult role of reuniting parents and children in the chaos after the war. Emily Langhan (Ellen) delivers a gorgeous, nuanced Maybe, blending classical and musical theatre tones in a way that feels perfectly suited to the role.
Boublil and Schönberg’s score is the beating heart of this production – sweeping, wise, and heartbreakingly beautiful. The recitative, recurring motifs, and emotional arc all come together to remind us why this is one of their finest collaborations.
The tragic finale, reminiscent of Romeo and Juliet and echoing A Little Fall of Rain from Les Misérables, is profoundly moving. Kim’s sacrifice – giving her life so that Tam can have a future with his father and Ellen – is the ultimate act of love, leaving the audience in stunned and genuinely sorrowful.
As the final notes faded, the entire auditorium rose to its feet in a well deserved standing ovation, a testament to the power, artistry, and emotional weight of this production.
Following its sell-out success, extra dates have already been added for 2026. So if you missed this run, or simply want to experience the magic again, be sure to get your tickets when Miss Saigon returns to Manchester.