When the previous UK tour of Miss Saigon finished back in 2018, many of us thought that would be the last we’d see of the classic (yet problematic) musical recontextualising the opera, Madame Butterfly, into the Vietnam war. Yet bravely, earlier this year, Sheffield Theatres announced that they would be staging a non-replica production with a female Engineer (Joanna Ampil) and a promise to re-frame the material to remove the stereotypes and give more power to the story’s central character, Kim. Well Besties, it’s finally opened and we’re here to tell you that that promise has been rightfully kept. This production has made all the right choices (some absolutely *inspired*) yet isn’t quite as confident and as sure of itself as it truly deserves to be.

Audiences are first greeted by a lone 70’s television on a stage of video and animation designer Andrzej Goulding’s static, which goes on to define the creative vision of this new production. Leaning heavily on the fact that this war was one of the first to be televised, we enter a world of static memory plagued by whoever tells the story. The aesthetic is explored wonderfully throughout the show, offering many additional layers to the performances on stage and almost becoming a character in its own right, which helps audiences to understand that this is production is much more critical of its own material.

Co-directors Anthony Lau and Robert Hastie have not just made necessary changes to the material (removing slurs and editing outdated lyrics) but have gone on to provide added depth to characters where there was once little - beginning ‘Bui Doi’ in a support group as it follows John (Shane O’Riordan)’s journey from anxious survivor to proud ambassador for change is expertly staged; a new location for ‘Still’ allows for the lasting effects of Chris (Christian Maynard)’s PTSD to be shown to their full extent and contrast Kim’s position even further, but perhaps most notably (and proudly announced along with the scheduling of Miss Saigon) is the casting of Joanna Ampil as the first female Engineer.

Refusing the original red/black blazer of previous iterations within minutes of the overture, Ampil sets herself and the audience up for something new entirely - a surprisingly much more subdued and calculating character that seemingly has higher highs and lower lows than ever before. It goes without saying that her perspective reframes many scenes and makes for an incredibly interesting watch. The keys of each of her songs have also been adapted, allowing her true ownership of the role. At times, we thought she could have committed a little more but we believe that, in time, as this production as a whole grows in well earned confidence, this will come hand in hand.

At this performance, we were also treated to Desmonda Cathabel’s first turn as Kim (for which she is the alternate). We are truly blessed to be shown, once again, that the future of this industry is in safe hands. With a powerful voice deserving of this role, she explores Kim’s suffering with a subtle yet visible inner strength and power that does not go unnoticed; making many bold choices that leave lasting impressions on the viewer. Her seemingly non-reaction to abandonment by Chris during ‘Kim’s Nightmare’ is filled with layers of deep relentless sadness from a life hardened misfortune. The directors here have also afforded her Kim much more agency by redirecting the line “i’m not a prize you can claim” to Chris himself.

This production also gleefully embraces its theatricality and honours its operatic routes as the orchestra are highlighted throughout the performance. Most notably in the soaring ‘Last Night of The World’ where Kim, Chris and the music are all able to take centre stage in an emotional celebration of love and music at the centre of this epic story. There has also been an additional audience play out added for musical director Chris Poon to truly flex his skill in command of the music, and his joy in this position was visible through every monitor in the venue. Further to this example, Ben Stones’ set design allows for an exhilarating version of the iconic helicopter moment of the show, truly making the most of the Crucible’s full capabilities.

We hope that this short run in Sheffield is not the end for this new vision of the material, and that it is brought to another venue with “more room to flex its muscles” as the Engineer might say. Directors Hastie and Lau have got a winning production on their hands that deserves to stand proudly as *the* new Miss Saigon.

**** Four stars

Reviewed by: Callum Wallace

Miss Saigon plays at Sheffield’s Crucible Theatre until 19 August, with further information here.