There are few Broadway musicals with scenes that are a part of
“how did they do that” theatre lore — iconic moments that live beyond the stage and become a signature image or set piece. In “The Phantom of the Opera,” it’s the chandelier. In “Wicked,” it’s Elphaba defying gravity. And in “Miss Saigon,” it’s the helicopter.
As someone who loves musicals and has seen her fair share of them, I had never seen “Miss Saigon” before the tour’s opening night at the Wharton Center Tuesday. I only knew it was based on “Madame Butterfly,” my grandma loved its music, and it featured a helicopter descending upon the stage. I reveled in the opportunity to finally see it and hear the songs that —while unknown to me before — seemed altogether familiar when I saw the show.
“Miss Saigon,” though deeply sad and heavy, soars with its incredibly talented cast and dreamy orchestrations. The darkness of its subject matter and even its set design is brightened by the actors’ strong, clear voices and brief sprinkles of humor. The national tour of the 30-year-old musical by Claude-Michel Schönberg and Alain Boublil, the team behind “Les Miserables,” will play at the Wharton Center through Sunday, March 17th.
Produced by Cameron Mackintosh and directed by Laurence Connor, “Miss Saigon” brings audiences to 1975 Saigon, near the end of the Vietnam War. Kim, a young South Vietnamese woman, is lured into work at a seedy bar and brothel by a man known as The Engineer. On her first night Kim meets Chris, a sergeant with the U.S. Marines who isn’t as entranced by the Vietnamese sex workers inside the Dreamland club as his fellow marines.
Kim and Chris spend the evening together and fall in love, but are ultimately torn apart by the fall of Saigon. Three years later, they are brought back together with heartbreaking revelations.
Emily Bautista completely captures Kim’s innocence, but also her strength and conviction; Bautista’s voice soars to the highest heights in “The Movie in my Mind” and “I’d Give my Life for You,” and draws you in with quieter moments. As a mother, my heart broke for Kim’s journey in raising her son Tam in such harrowing circumstances; every embrace by Bautista, every sacrifice, felt real and true.
When I spoke with her in an interview, Bautista noted how often she is kneeling on the stage. It is something that I watched for during the show, and I found that her ability to sing and perform with such strength in a position of vulnerability was exceptional.
Chris, played by Anthony Festa, is also a vocal standout in the cast, particularly on “Why God Why” and “Last Night of the World.” Although their time together is ultimately brief, the chemistry between Kim and Chris was palpable even from the balcony. As Chris, Festa strikes a balance of tender and secure — Kim’s port in the storm.
As The Engineer, Red Concepción is a powerhouse performer, showing us a man who aspires to leave Saigon for a better life and will sink to the lowest lows to get there. He’s dastardly, he’s overbearing, he’s bombastic. Despite his awful treatment of the women in his clubs, he is somehow… likable in moments? I think that’s a credit to Concepción’s performance. The Engineer’s unearned swagger and bright 70s suits light up the stage, particularly in “The Heat Is On” and “The American Dream.”
I also found J. Daughtry to be a cast standout as John, Chris’s friend who helps play a pivotal role in his relationship with Kim and the revelations that come in Act II. His Act II opening number “Bui Doi,” which refers to the children of Vietnamese mothers and American soldiers left behind in Vietnam, is an emotional highlight.
The “Miss Saigon” tour features some of the most detailed and innovative set design I have seen in a musical, even beyond the theatrics of the helicopter scene in Act II. The mood of the dim lighting and gritty buildings mixed with neon signs and intimate bedroom moments is like watching a film on stage.
The famous helicopter scene is magnificent not just for the helicopter alone, but for all of the moving parts and actors. We see the perspectives from within the fence and beyond the fence as the set pieces rotate. It builds a sense of tension and despair until the helicopter finally arrives and leaves with the U.S. Marines, including Chris, on board. Without knowing the full story going into the show, I expected the scene to happen while the characters are in Saigon in Act I. The use of a flashback scene creates an even more powerful, unexpected punch when it appears in Act II.
“Miss Saigon” is an emotional journey. As Emily Bautista said in our interview, the world is not perfect and never will be, but somehow love still persists. From the music to Kim’s story, there are many things I am continuing to think about a day later. I find myself replaying parts of the show in my head, like a movie in my mind. I think it will linger with me for a long time.
Don’t miss “Miss Saigon” at the Wharton Center, playing now through March 17th. Click here for show and ticket information.