Review: Miss Saigon - Norwich Theatre
- May 14
- 3 min read
Review by April Nash
This will be the third time I’ve seen Miss Saigon, having caught two previous tours at the Norwich Theatre Royal, with this particular production marking the 50th anniversary of the fall of Saigon and the end of the Vietnam War. It remains a heavy, tragic piece of theatre - famously inspired by Madame Butterfly - centering on the relationship between an American GI, Chris (Jack Kane), and a young Vietnamese girl, Kim (Julianne Pundan), amidst the chaos of 1975 and the fall of Saigon.
Commenting on this show in 2026 is a bit of a balancing act. Since its 1989 debut, the musical has been tethered to enduring controversies regarding "yellowface" casting history, "white saviour" tropes, and the sexualisation of Vietnamese women. There is a fine line between depicting the historical attitudes of the 70s and the modern responsibility of storytelling, but this production feels slightly more aware of that tension.
The creative team has leaned into satire more than previous iterations, particularly regarding the "Land of the Free" ideology. This shift is most evident in the character of the Engineer (Seann Miley Moore). By highlighting the era's cynicism rather than just the central romance, the show feels slightly more grounded in its political context.
There are subtle lyric changes for those familiar with the score, aiming to soften some of the more problematic language. One notable inclusion is the song Maybe for Chris’ wife, Ellen (Emily Langham). It provides a level of nuance and character depth that feels more aligned with modern musical theatre sensibilities, even if the style jars slightly against the original 80s compositions. It is interesting to me that the production continues to refine Ellen’s character to make her more sympathetic, yet the central relationship between Kim and Chris still feels somewhat trapped by the original material’s age.
While Pundan and Kane sang the score with incredible heart, the direction of their duets occasionally felt a bit saccharine. The character of Chris, in particular, was played too "all-American action hero" for my tastes, whereas Pundan's depiction of Kim was full of pain, grace, and passion - an incredibly impressive professional debut.
Moore, as the Engineer, absolutely and categorically steals the show. Bringing an abundance of energy, charisma and a fresh perspective to the role, Moore was phenomenal. During The American Dream, it was almost impossible to look anywhere else, despite the scale and spectacle of the number.
The visual design is where this production is in a league of its own, with Andrew D. Edwards (set and costume), Bruno Poet (lighting), and George Reeve (projection) collaborating to create a show that is remarkably immersive. Together, they managed to depict both the intimacy of small rooms and the staggering scale of the conflict. The design of Dreamland was stripped of any traditional "musical theatre wonderland" gloss; it was dark, small, and grounded, providing a far more interesting setting. This gritty atmosphere made the number Movie in My Mind (beautifully sung by Thao Therese Nguyen) particularly poignant, with the rotating stage and lighting effectively heightening the emotional analogy.
The technical execution of Act II is equally as impressive, especially with its handling of iconic moments like the helicopter, using a combination of physical set pieces and Reeve’s impactful projections and video walls to create a haunting sense of depth and perspective. Poets’ use of actors' silhouettes against these vast digital landscapes was particularly striking, allowing the production to feel both cinematic and deeply theatrical.
Even decades later, the core themes of a human need for a better life and the search for freedom remain strikingly relevant in our political climate. This is a stunning, thoughtful production that respects the source material while acknowledging the complexities of its legacy.
Miss Saigon continues at Norwich Theatre until 23 May
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