Miss Saigon - Sheffield Crucible

[BVM]

Battling a day of train strikes to try and get to this. Left the South Coast 1 hour ago.

SO desperate to finally see it, 🤞🏻🤞🏻🤞🏻 I make it!

[BVM]

So despite the best efforts of the UK rail network I battled the strikes and made it to Sheffield to see both shows of Miss Saigon yesterday.

I have been obsessed with this show forever and it's my second fave musical of all time after Starlight Express. I saw the Hytner original, the Hytner tour, both casts of the next tour and by the time it made it to the Prince Edward I could afford to see things more than once so saw that production countless times. Then did a UK mini tour of my own to see the latest UK tour. Finally I went several times to Vienna which was probably the most sublime production I have seen.

Reason I say this is that when you are SO familiar with the original you can only ever watch something new with all that associated baggage so the only opinion I can give of the Sheffield version is from that perspective. But overall - I loved it. I was slightly unsure for the section up until Morning of the Dragon at the matinee but from then onwards I was totally sold.

It sounded fantastic. I was so pleased they were using the Bill Brohn/Stephen Metcalfe orchestrations and there was a full orchestra. Entire cast had wonderful MT voices. The score/orchestrations/singing and sound are the number one thing for me personally at any musical and it was all there - everything else is icing on the cake really. Claude Michel Schonberg is an absolute genius and I honesty think this is one of the best scores ever written. I could listen to it forever.

The set/staging as people already know is small. So it could not be more contrasted to the mega musical version. But it's classy, with fantastic lighting and projection design and really evokes the atmosphere of the places and the piece brilliantly (though takes a bit of getting used to). It's a good example of what I think I've said on the Aspects and Sunset thread that if you can't have mega musical sets for the mega musicals, I'd much rather see something small and cleverly conceptual that allows you the space to fill in the gaps in your mind than a more extensive but cheap looking and ugly set that doesn't (a bit like current Aspects one). The costumes I also thought were excellent. Much more true to the period and authentic than the "glitzier" designs of the original.

The female Engineer was a revelation. In the first half of the matinee performance I was unsure until Morning Of The Dragon and from then on I thought it was a genius idea. Evening show I was there from the beginning. The male version I am used to is such a larger than life character from the start that I didn't really feel her presence at first - but it was combined with getting used to the intimate set and the whole feel being so different so maybe was that. But I think it was a choice that Joanna Ampil built the character slowly but persistently through the entire show - until The American Dream was just simply sensational. A much warmer, more humane but also funny and when needed brutal and sinister Engineer. And what a voice! A few parts where changed so she could belt in a higher register and it was music to my ears. Literally! God knows if this is eligible for any big awards but she deserves one!

Shane O' Riordan was a wonderful John and Bui Doi was incredible. After the endless riffing nightmares of many recent Johns it's great to hear it sung as pure MT. As others have said Shanay Holmes actually makes you care for Ellen which is no mean feat. Though while Maybe is fine, I do wish they'd give the gays what they want and bring back Her Or Me/Now That I've Seen Her. (Obvs they never will....)

Thuy is more nuanced and conflicted rather than simply the baddie but that's been that way for a while and is not new for this production.

Which brings me to Chris and Kim. And this is the one element where I slightly struggled. I can't put my finger on why, but the intensity of their love for one another and the utter desperation of their separation I didn't quite feel in the way I normally do. Not sure if was the combination of actors, the direction, the different staging, I really don't know - but it just wasn't quite there for me. At the matinee we had Desmonda Cathabel who has such a strong voice and made the songs sound sensational. But her Kim, I dunno, kinda didn't give much away - I was never sure how she felt. That said it was better in the second half. I think it's probably directed as such. Jessica Lee in the evening was slightly more playful in the first half. And I must admit totally won me over from early second half onwards. So perhaps again I just needed to get used to the staging. I certainly wouldn't blame the actors. Chris sang very well though was at times overpowered by the orchestra. His scenes with Ellen were fantastic. But yes, with Kim it just somehow wasn't fully believable.

Anyway, so thrilled I saw it. Where Aspects was for me a miss all in all, this was very much a hit. Did they get everything right? No. But did they create a new fresh version of an epic mega musical - not an easy thing to do - absolutely yes! Both musicals premiered in 1989, but for me there is truly no comparison with these revivals. I honesty think what the creative team have done here is genius. Just a couple of areas I think could be improved. 

I've booked to see it two more times. And I can't wait!

Whilst I really hope the original version will be staged again, I also very much hope that there is a future life for this version beyond Sheffield.

[jay78uk]

Wow, just wow. Loved this on so many fronts. I have seen various London productions so was excited to see a completely new take. Just left the theatre and so much to be excited about. Firstly, the orchestra is just superb. Gorgeous playing, and orchestrations as per original but with more piano. Just loved it. The staging was so refreshing… stripping away the sets demonstrates what a truly brilliant score and book this is. For the first time tonight I thought Miss Saigon the best of all mega musicals- the most contemporary of the bunch and I dare say the one that will stand the test of time. The semi operatic score just soars with tension and beauty, with the lack of set lessening the 1980s power ballad tendencies of the first act to something far more tender and felt. The direction at times was brilliant, bringing new perspectives, especially Ellen. Her ‘maybe’ finally made sense to me. The fall of Saigon was done utterly brilliantly with more feeling and tension than I have ever experienced. Bui doi worked way better than the original production. The imaginative reworkings of what a waste and american dream both went down a storm complete with a Trump reference that was just brilliant. On to the cast- another wow. Not a single weak link but I felt for the actor playing Chris who had a gorgeous voice but needed to rest it. But even he knocked the why god why reprise out of the park. On form he was the best Chris I have ever seen. Similarly when Joanna Ampil gave it welly, oh my goodness. Kim was just fantastic as were John and Thuy. Regarding the concerns the show had been given a PC dusting down, I didn’t get that feeling. Yes, director decisions vary from the original production, but I did not feel this driven by PC concerns. There was still plenty of sexuality and bawdiness. From my perspective this production is exactly this kind of fresh energetic reimagining we need more of in London. 5/5

[darreno]

Went last night and absolutely loved this show.

Very different in tone to the previous touring version a few years ago, stripped down staging BUT they used it to the absolute limit, got everything they could from it. Shout out to the lighting people, what a great job.

We had two alternates on, for Kim and Chris, both very strong. Joanna Ampil as the Engineer really does command the stage, plays the character brilliantly.

Shane O'Riordan opening the second half with Bui Doi is put together SO well. He excels in the second half, perfect example of how a supporting actor can drive the story and shine without 'stealing' focus.

Patrick Mundae seems to be in everything I attend recently, and that's a very good thing. He was ensemble for this performance but whenever he is in something, you can guarantee a committed and complete performance. Spoke to him a while ago attending Eugenius to praise him for his Cheerleader performance and a nicer, more humble chap you will never meet.

Finally, all the praise to Shanay Holmes who finally gives the character of Ellen her rightful place in the story. She sings her part beautifully and gives the character life.

Would recommend to any and all. Theatre wasn't full unfortunately, but it was a Wednesday night I suppose. Orchestra were outstanding, many of us stayed behind to give them their moment, a real highlight.

[backstage]

I personally don’t recognise the comments about it being sanitised - especially the bar scenes. I had to stop watching one of the ensemble as she got more and more drunk and out of it as the scene progressed. To me it was much more grim and depressing than the previous version. A lot of that might be the magic of the crucible though and being that close to the actors (I also noticed one of the GIs crying over a photo of his mum to a bar girl which I found really moving). I loved the staging of the ‘dancing’ with the women round the side and the GIs round the podium, a clever way of getting the seediness across without tipping into the same thing.

I absolutely loved this production having previously been fairly cool on it (love the score but never enjoyed the plot). The acting is brilliant, casting brings something new and fresh. I think they did a good job at stressing Chris’ deteriorating mental health from the start rather than just he went home and now he’s got PTSD, helped me understand more why they were drawn together. Kim seemed to have much more agency too and I can’t imagine a male engineer in the role now (I felt the desperation to get much more).

My husband who absolutely hated Miss Saigon when we saw it on tour loved it so I wonder if it’s reaching a different audience? Very glad we’re local so can see it again!

[richey]

Finally saw it at this afternoon's matinee and totally blown away. I'm still an emotional wreck on the train home.
Everything just works perfectly, the female Engineer is a brilliant move which works so well, I loved the whole new dimension that Joanna brings to the role.
I was in row B which was great as I felt so close to the action but was just elevated enough to see over the actors when they sit at the sides of the stage.
I don't think there's much more I add that hasn't already been said. The lighting effects were incredible, I had tears during Last Night of the World and the end of Act 1. And they started again as soon as Bui Doi began, I thought the way this was staged was brilliant.
I really want to see it again but sadly don't think I'll have time, my original plan to see it earlier in the run being scuppered by train stikes.

[capybara]

I’m not going to get a chance to see this before the end of its run but does anyone know if it may have a future life elsewhere?

[ceebee]

I've bitten the bullet and bought tickets for this - have gone through the thread as I recalled some discussion about parking, but nothing confirmed regarding the best car park for the theatre (in terms of availability, particularly on a Saturday) and one that is suitable for a large SUV. Any guidance very much appreciated - am looking forward to seeing this and visiting Sheffield.

[BurlyBeaR]

There’s an underground car park virtually beneath the theatre. It’s pricey though, I paid £14 arriving about 30 mins before the Saturday matinee and leaving straight after. 

it’s accessed from Arundel Gate driving in the direction from Castle Square. there’s a very sharp left turn off the road down into the tunnel - red arrow. Crucible is across the road, green arrow. You can walk across the road through the tunnel below. 

The only other thing I’d mention is that it’s quite tight down there so if your car is massive you might struggle. 

TallPaul might have other suggestions. 

[TallPaul]

Oddly, rather than it's closest neighbour, Sheffield Theatres has a partnership with the Q Park further along Arundel Gate.

www.sheffieldtheatres.co.uk/your-visit/how-to-get-here

www.q-park.co.uk/en-gb/cities/sheffield/charles-street/

Just be aware that, on exit, DO NOT drive along Arundel Gate towards the world-famous Crucible Theatre. There's now a bus gate and you'll get a fine.

[BurlyBeaR]

Aug 9, 2023 12:59:31 GMT TallPaul said:

Oddly, rather than it's closest neighbour, Sheffield Theatres has a partnership with the Q Park further along Arundel Gate.

www.sheffieldtheatres.co.uk/your-visit/how-to-get-here

www.q-park.co.uk/en-gb/cities/sheffield/charles-street/

Just be aware that, on exit, DO NOT drive along Arundel Gate towards the world-famous Crucible Theatre. There's now a bus gate and you'll get a fine.

Is that only on weekdays though? There were definitely cars coming along from that direction when I was there. 

[ceebee]

Thanks BurlyBeaR and TallPaul for your advice - very much appreciated!

[ceebee]

Following advice provided above and for anybody requiring parking close to the theatre, I took BurlyBeaR advice and booked the Arundel Place undergroundcar park - this is bookable in advance through JustPark and cost me £7.50 to park between 11am and 6pm. A fair price for a city centre on a Saturday, I think.

[marob]

I see from Instagram that Boublil & Schönberg were there last night.

[BurlyBeaR]

Aug 9, 2023 16:27:25 GMT marob said:

I see from Instagram that Boublil & Schönberg were there last night.

How exciting! 

[AddisonMizner]

I went to today’s matinee (9th August) and thoroughly enjoyed it. MISS SAIGON is my favourite of Boubil and Schoenberg’s shows, and if anything, the production highlighted the strength of the material - a great story and a fantastic score! It is an intimate piece really, and doesn’t need all the bells and whistles.

I thought that the staging was excellent overall, and in some cases genuinely did give a new perspective on the material. This was particularly the case in the big numbers (‘I Still Believe’ and ‘Bui Doi’ with their focus on PTSD, the end of ‘I’d Give My Life For You’ showing them onboard a boat, echoing current conversations about immigration and ‘The American Dream’). There was a real narrative drive to the staging in these numbers. I liked the framing device of older Tam that bookends the show. The evacuation/helicopter scene was really well done, and actually quite breathtaking. It probably is my favourite of the stagings I have seen. It shows that you do not need to see a helicopter on stage for it to be effective.

Saying that, I did have a few issues with it:

Some of the big choral moments (such as ‘This is the Hour’ after ‘Thuy’s Death’) didn’t necessarily have that spine-tingling impact that a bigger chorus could provide.

I also felt that the staging of the two death scenes also did the piece a disservice. Having both Thuy and Kim as floating spirits watching on as characters cry over a non-existent body could have been effective, but robbed the moments of their emotional impact.

Jessica Lee was a gorgeous Kim, but was a little too shouty for my taste at points. I found Christian Maynard as Chris slightly irritating. He occasionally did this gravely effect with this voice that was just annoying.

Some of the blocking was also off, with you often seeing many backs or having actors blocking your view of other characters reactions (and I was front-facing the stage). I know it is difficult with that sort of thrust stage, but I still think it could have been avoided. I also don’t know why they bothered with having a revolve, as it was barely used. The revolving staircase was used effectively though to add height.

I didn’t really have a problem with it, but I don’t think that having a female Engineer really added anything. It just made the character slightly softer.

Cameron Mackintosh was floating around outside the Crucible this afternoon. I don’t know whether he was in seeing the show though. I wonder if this means anything about a future life?

Certainly worth a visit.

4 stars.

[BurlyBeaR]

Aug 9, 2023 15:01:31 GMT ceebee said:

Following advice provided above and for anybody requiring parking close to the theatre, I took BurlyBeaR advice and booked the Arundel Place undergroundcar park - this is bookable in advance through JustPark and cost me £7.50 to park between 11am and 6pm. A fair price for a city centre on a Saturday, I think.

Bloody hell didn’t even know you could book ahead for that huge saving 😠. I’ll remember next time I go by car. 

Further tip, when you’ve parked up, ignore the lift/stairs exit signs. Walk back down to the ticket barriers the way you drove in. The slope up to the crucible is opposite. You can have a peek into the costume department on your way. 

[SamB (was badoerfan)]

For another approach to parking, when we went we parked up at the Park & Ride at Meadowhall (which is really convenient, just off the M1), and then got the tram in, which takes about 15 minutes, £2 each way. Get off at the 'Cathedral' stop, which is just a couple of minutes walk from the theatre.

[ceebee]

Wow - what a theatre, what a show. Interval post... I saw the original version of this show. This is as good, better in places. Just fantastic.

[ceebee]

I would be interested to know how/if the revolve works in this production. Saturday matinee started late due to a technical issue and there were scenes that looked a little static that I feel would have benefited from the revolve - the evacuation scene, American Dream particularly. Is it normally used? Didn't detract from my enjoyment - thought it was fantastic, the updates didn't bother me, a very strong cast and a stunning theatre.

[backstage]

Aug 12, 2023 21:05:53 GMT ceebee said:

I would be interested to know how/if the revolve works in this production. Saturday matinee started late due to a technical issue and there were scenes that looked a little static that I feel would have benefited from the revolve - the evacuation scene, American Dream particularly. Is it normally used? Didn't detract from my enjoyment - thought it was fantastic, the updates didn't bother me, a very strong cast and a stunning theatre.

I was also there today and noticed the lack of revolve. The only use I can think of in the first half is during solo saxophone which I didn’t miss too much. It’s a relatively big component of the evacuation scene so that was a real shame. Can’t remember if it’s used in the American dream.

[BVM]

Caught this again twice on Saturday.

Not much to add from my last review but it’s simply stunning. The staging is so clever. The score sounds so glorious. The story is even more powerful than ever.

So many wonderful creative moments of story telling.
- the mundane tedium of being in a supermarket then being overtaken by a panic attack
- the trauma and PTSD experienced by soldiers post war and the staging of Bui Doi
- Chris and Ellen not being rich and wearing normal everyday clothes and not staying in huge hotel rooms with 4 poster beds
- the terror of boat people at sea for days in storms (parallels with the current migrant crisis).
- Tam watching his life unfold and the story of his mother. Reminding you that the cute little kid grows up and has to come to terms with his start in life.

Just overall making it so clear how there are no winners in war and the horrific impacts it has on people’s lives.

On a more upbeat note Joanna Ampil is giving the performance of a lifetime. The progression of the character is sublime. And she SINGS. And I love it. I think it’s all the same key but for some sections she goes an octave up and belts the hell out of it and I have eargasms.

Finally the set and projections are incredible. For something that looks so simple when you walk in, the constant flickering, changing, morphing into scene after scene with these gorgeous but subtle lighting changes. It’s incredible. It’s filmic. You kinda get an even better sense of time and place than the mega set version. So clever.

I so hope this won’t be the end of the road for this production. Easily the best thing I’ve seen since (strange but true) Miss Saigon in Vienna.

Think I said 4.5 stars last time. I’d say 5 now. Pretty much perfection!

[BurlyBeaR]

If this did transfer, how would the finances work? Presumably CM is taking a cut on the crucible production in return for granting the rights, if it then transfers he’ll continue to get his cut but also the crucible and it’s creatives will take a share. Then the owners of whichever theatre it moves into. With everyone in the chain requiring a bite of the cherry does it become less financially viable? Or does it work some other way?

[BVM]

Aug 14, 2023 16:43:14 GMT BurlyBeaR said:

If this did transfer, how would the finances work? Presumably CM is taking a cut on the crucible production in return for granting the rights, if it then transfers he’ll continue to get his cut but also the crucible and it’s creatives will take a share. With everyone in the chain requiring a bite of the cherry does it become less financially viable? Or does it work some other way?

Interesting. No idea to be honest with you. But it must be do-able. All ALW stuff not produced by RUG is always “in arrangement” with RUG.

Dunno if I see it in London. Partly as can’t think of a good venue for it. I don’t think it would work in a West End theatre as the design is so simple the ornate theatre auditoria could overwhelm it. Crucible auditorium is quite “black box.” Gillian Lynne the only place I can think of. Maybe they could do back to back Sheffield residencies lol.

A limited tour would be nice. Could see it at Home in Manchester.

[BVM]

It’s so perfect in Sheffield I struggle to imagine where could go!

Do The Crucible ever bring things back for second seasons there?!