The 2025 tour of Miss Saigon has descended upon Manchester’s Palace Theatre, a moment I approached with a mixture of excitement and nerves. This musical is, without question, my unrivalled favourite of all time. Having seen it over 50 times, I know the script, staging, and emotional landscape inside out. So, would this new version soar like a phoenix… or fall short?
Miss Saigon follows Kim, a young Vietnamese girl forced to work in a Saigon bar after losing her family. There she meets Chris, an American soldier, and over one night their lives become bound by a powerful, unexpected love. When Saigon falls, Chris is airlifted out in the chaos, unaware that Kim has survived and is now raising their son, Tam. Determined to protect her child at any cost, Kim endures years of hardship while Chris, believing her gone forever, builds a new life in America. When he returns with his wife, the truth of Kim’s survival sets the stage for a heartbreaking confrontation, where love, loyalty, and sacrifice collide in devastating fashion.
This revival proves to be a bold reinterpretation. It doesn’t aim to replicate the original production, nor does it rebel against it. Instead, Jean-Pierre Van Der Spuy offers a fresher, more introspective take. Some changes breathe new life into the show; others soften moments that were once devastatingly powerful. Gone are the bikinis, the Cadillac, the army barracks gates, and the haunting Chris and Ellen nightmare scene. Some omissions feel liberating, but others undeniably diminish the former dramatic punch.
Seann Miley Moore as The Engineer is an absolute triumph. The sharp-edged, gritty era of Jon Jon Briones has given way to a more camp, charismatic, and surprisingly gentle Engineer. Moore infuses the role with warmth and mischief, making him more endearing without losing the character’s opportunistic charm. His vocals are crystal clear, controlled, and confident, and “The American Dream” becomes a glittering showstopper under his command.
Jack Kane as Chris delivers a sincere, emotionally layered performance. His Chris is neither heroic nor flawless, just profoundly human. His voice carries both strength and vulnerability, drawing the audience into his inner turmoil.
Julianne Pundan played Kim and what a revelation. As a real-life teenager inspired by Lea Salonga’s original portrayal, Pundan brings astonishing maturity, vocal precision, and emotional depth. She commands the stage with a mix of fragility and fierce determination, making her an utterly compelling Kim.
Dominic Hartley-Harris plays John with assurance and warmth, giving the character a moral centre that resonates. John serves as a bridge between past and present, soldier and humanitarian. Although the reworked “Bui Doi” lacks the original’s gut-punch impact, his performance is compelling and dignified.
Emily Langham as Ellen offers a grounded, empathetic Ellen. However, the simplified Room 317 does lose some of the emotional force of Kim learning about Chris’s new life. The scene feels softened where it once stunned.
Mikko Juan gives Thuy the complexity he deserves. Often misunderstood as merely a villain, Thuy is instead a young man driven by love, honour, and desperation. His devastation when he learns of Tam’s existence is striking, and his tragic fate hits hard.
A wholehearted commendation must go to the young children aged only 6–7 who take on the role of Tam. Their work is astonishingly assured. Despite their youth, they display remarkable professionalism, emotional instinct, and stage presence, qualities that elevate the show’s most heart-wrenching moments. The audience audibly gasped when Tam first appeared, a testament both to the power of the role and the authenticity the young performers bring to it. Their presence injects the story with innocence and truth that deepen the emotional stakes immeasurably.
The songs in the show each and every number resonates with power, and each remains unforgettable. My personal favourites are “I Still Believe,” “You Will Not Touch Him,” and “The Sacred Bird” which still leave me in floods of tears, even after countless viewings.
Some changes are genuinely inspired: “I Still Believe” gains beautifully considered staging that heightens the emotional distance between Kim and Ellen. Kim’s Nightmare is brilliantly reimagined, intensifying the plot with fresh dramatic clarity and “The Morning of the Dragon” now channels traditional Kabuki theatre, offering a striking visual shift that surpasses the original dragon sequence.
The scenery is versatile and atmospheric, the costumes rich and culturally grounded, and the lighting exquisitely balanced, enhancing both chaos and stillness.
I adored this production so much that I’m returning this Saturday and I’ve already booked to see it again on tour in Liverpool and Blackpool in 2026. And there’s fantastic news for fans: due to phenomenal ticket sales and overwhelming demand, Miss Saigon will return to Manchester at the Palace Theatre from Tuesday 4 to Saturday 8 August 2026.
This revival is clearly captivating audiences across the country, and I can’t wait to experience its emotional power again.
This new Miss Saigon features changes both welcome and questionable, but its emotional force remains undeniable. The story of love, betrayal, war, sacrifice, and hope still grips the audience to the very last note. When the final scene unfolded, the auditorium was united in tears, myself very much included.
The phoenix may look different… but it absolutely still flies.
If you are able to secure a ticket do not hesitate as this production offers an unforgettable night of theatre excellence. From the moment the overture begins, you are swept into a world of breathtaking storytelling, soaring vocals, and stunning visuals that leave a lasting imprint long after the curtain falls, it is the kind of rare theatrical experience that reminds you why live performance is so powerful: emotional, immersive, and utterly unforgettable. Whether you are a long-time fan or discovering Miss Saigon for the first time, this production is a must see!
Music by Claude-Michel Schönberg
Lyrics by Richard Maltby Jr. & Alain Boublil
Adapted from the original French text by Alain Boublil with additional lyrics by Michael Mahler
Directed by Jean-Pierre Van Der Spuy
Production overseen and originally produced by Cameron Mackintosh
Reviewer: Katie Leicester
Reviewed: 13th November 2025
North West End UK Star Rating:
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