REVIEW – MISS SAIGON | THE PALACE THEATRE MANCHESTER | 11/11/2025

Miss Saigon Soars in a Thunderous, Soul-Stirring Reimagining

Miss Saigon has a very special place in my heart. I first saw it at the Palace Theatre Manchester on its original UK tour when I was just 18 years old. I didn’t want to go—but by the end of the night, I was completely changed. That performance opened the door to my lifelong love of musicals, plays, and live theatre. Returning to the Palace for this brand new reimagining felt like coming full circle, and I’m delighted to say it exceeded every expectation.

Produced by Michael Harrison in association with Cameron Mackintosh and directed by Jean-Pierre van der Spuy, this UK National Tour marks 50 years since the fall of Saigon. It succeeds not only as a revival, but as a deeply thoughtful reinvention—emotionally honest, musically glorious, and visually striking.

The story of Miss Saigon remains one of the most powerful and emotionally devastating in musical theatre, and this new production brings its themes into sharp, heartbreaking focus. At its core is Kim, a young Vietnamese woman whose life has been shattered by war. Fleeing her destroyed village, she finds herself working in the ironically named Dreamland bar under the control of the charismatic yet morally slippery Engineer. Amid neon lights and desperation, she meets Chris, an American GI as disillusioned by the war as she is traumatised by it.

Their connection is immediate—tender and fragile in a world that has forgotten what innocence looks like. Their brief love story becomes a temporary escape from the chaos around them, but as the war collapses, so does their chance of a future together. The fall of Saigon tears them apart in one of musical theatre’s most iconic and heart-wrenching scenes.

Three years later, their lives have diverged in painful ways. Chris, now in the US and battling PTSD, has remarried and is trying to move forward, while Kim remains steadfast in her belief that he will return. When the truth of Chris’s new life is revealed—and when Kim’s own secret, their son Tam, comes to light—the emotional stakes become almost unbearable.

The second act is a relentless journey through loss, sacrifice and the lingering consequences of war. Themes of survival, motherhood and hope collide as the characters face impossible choices. Even for those familiar with the show, the finale remains overwhelming; Kim’s ultimate sacrifice is still one of the most devastating and beautiful conclusions in musical theatre. This reimagining honours the story’s emotional core while acknowledging its complex legacy for a modern audience.

Bringing this story to life is a production design that feels as epic as the narrative itself. Andrew D Edwards’ set design is nothing short of extraordinary. The constantly shifting structure feels alive, revealing new layers throughout the performance and creating an immersive world that reflects both the intimacy and chaos of wartime Saigon. The staging remains faithful to the storytelling while embracing modern theatrical techniques that elevate every moment.

From our seats toward the back of the stalls, our view of the upper level of the set was slightly restricted during the Fall of Saigon. We couldn’t see the full upper staging, though I’ve since heard that audiences from clearer vantage points can see the lower half of the helicopter lit dramatically as soldiers are hoisted inside. Even without that visual, the sequence remained gripping and incredibly intense—thanks to the sound design, choreography and palpable panic from the cast.

Bruno Poet’s lighting design is a masterpiece in itself—poetic, cinematic and deeply atmospheric. From the brash neon haze of Dreamland to the haunting silhouettes of refugee escape sequences, the lighting breathes emotional life into every scene, guiding our hearts as much as our eyes. The harsh strobe elements in the evacuation scenes and the soft, golden tones in Sun and Moon are particularly memorable.

The choreography by Christie Cartwright and Carrie-Anne Ingrouille adds layers of symbolism throughout the production. The Morning of the Dragon is a standout—sharp, ritualistic, and visually striking, with an ensemble moving like living puppets under a Communist regime. Their use of sweeping fabrics, dynamic physicality and precise unison work helps carry the story’s themes of danger, power and survival.

Boublil and Schönberg’s iconic score remains one of the most emotionally resonant in musical theatre. The sweeping orchestration, recurring motifs, and powerful recitative passages are handled beautifully under Ben Mark Turner’s musical direction. Numbers like Sun and Moon, I Still Believe and I’d Give My Life for You are delivered with such emotional clarity that they linger long after the final note fades.

All of this powerful theatricality would mean nothing without a cast capable of carrying the full emotional weight of the story — and this company delivers beyond every expectation.

Julianne Pundan as Kim gave a breathtaking professional debut. Her vocals soar with purity and emotional maturity far beyond her years, and her acting is extraordinary—controlled, dignified and devastatingly sincere.

Jack Kane as Chris gave a subtle, grounded performance that prioritises truth over vocal showmanship. His scenes with Pundan feel intimate and heartfelt, especially Sun and Moon and Last Night of the World.

Seann Miley Moore as The Engineer gave a complete scene-stealer. Charismatic, dangerous, funny, unpredictable and utterly unforgettable. Their Act II showstopper The American Dream is a glittering fever dream—wild, camp, seedy and iconic.

Dominic Hartley-Harris as John gave a Vocally exceptional, rich and commanding. His delivery of Bui Doi is powerful and deeply felt.

Emily Langham as Ellen delivers Maybe with gorgeous restraint and emotional clarity—warm, honest and beautifully sung.

Mikko Juan as Thuy was Intense, frightening and dramatically effective, especially in the pivotal confrontation with Kim.

And of course—Kim’s young son (played on rotation)was absolutely adorable and tugged on every heartstring in the theatre.

This reimagined Miss Saigon truly earns its title of “a legend reborn.” It honours the emotional core of the original while redefining it with cultural sensitivity, modern theatricality and a striking artistic vision. I left the Palace Theatre feeling both heartbroken and uplifted—emotionally drained in the best possible way.

With world-class performances, breathtaking staging and a score that cuts straight to the heart, this Miss Saigon Manchester run is unmissable, a devastating, spectacular and unforgettable night at the theatre. For me, Miss Saigon has always been epic, but this production makes it feel deeply personal too.

A legend reborn, and an unmissable night at the theatre.

Miss Saigon is at the Palace Theatre Manchester until Saturday 15th November 2025 and then returns for 1 week from 4th - 8th August 2026. Tickets are available for purchase through the link provided below.

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If you would like more information about the show, please click the button below to visit the show's official website.

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Photo Credit - Manuel Harlan