Note: The run of Miss Saigon has been extended for a second time–now running through October 6th. Ticket details follow the review
By Kyle Osborne
Melodramatic by design and operatic in its execution (indeed, it’s loosely based on the Puccini Opera “Madame Butterfly”) ‘Miss Saigon’ lands on the stage at Signature Theatre showing signs of its age within the songs, but benefiting from an invigorating, imaginative staging which loses some of the gimmicks of the Broadway production, and replaces them with smart choreography and an intimate setting.
Photo: Christopher Mueller
The tragic tale of a serviceman in Vietnam who falls in love with an innocent “club girl” is anything but subtle. Brought to you by the French team behind “Les Miserables,” the 1989 musical is also a “sung through” story with virtually every sentence sung, rather than spoken–a method that annoys some and enchants others–ideally, the story takes the viewer far enough away that he doesn’t notice, or at least doesn’t think about it much.
How far away? 1975 Saigon, for a start, where a brothel offers G.I.’s a chance to relieve some tension with “local girls.” It’s a steamy, sexy way to kick off the show–you can almost feel the humidity and smell the beer. Adam Koch’s set is both artistically pleasing and, frankly, utilitarian in its ability to easily change scenes and locations. Chris Lee’s lighting gets a major “assist” on the never fussy scene changes.
Besides the star-crossed lovers, the story’s most important character is “The Engineer.” He’s the man who can get you the girl you want for a price–the host, the emcee/pimp with a theatrical flair. In the very early going, one wondered if actor Thom Sesma would be up to the task of such a demanding role, but by the middle of the first act, once the fake moustache and wig had been shed, it was clear that Sesma would have the audience in the palm of his hand. With a hint of Tim Curry on his grinning face, Sesma plays the role with more warmth and less menace than some actors before him have, and it’s just the right note.
Not as successful was Diana Huey in the lead role of “Kim.” Huey’s vocal range is undeniable, she never misses a note, but the over-articulated phrasing has a ‘Disney Princess’ vibe that seems incongruous with the setting. The performance is more suited to “Mulan” than the gritty, depressed environs of the character–no matter how innocent and faithful she is. Gannon O’Brien as “Chris” is solid, if somewhat milquetoast. He unexpectedly inherited the role at the last minute and deserves unreserved admiration for the sheer balls it took. The audience cheered with gusto for actor Chris Sizemore, who plays Chris’s buddy “John.”
Last seen by this reviewer at the Kennedy Center in 1994, the question was how in the world would they get a helicopter and a Cadillac on the much smaller stage at Signature? The quick answers are: “amazing ingenuity” and, um–“No Cadillac.” No matter, the trade-off between big and intimate benefits the audience. Would you rather see a car or the beautiful and expressive faces of the actors? That’s an easy choice.
It’s true that some of the songs feel just a tad cheesy in today’s context, but by the end of the second act, the melodrama has moistened the eyes of even the most cynical audience member, and some will even need a hankie. And any time you can sit in the dark and be moved by what you’re seeing on stage, you’ve gotten your money’s worth at the theatre.
“Miss Saigon” has been extended at Signature Theatre through October 6th. Tickets and information at: http://www.Signature-Theatre.org