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"'Miss Saigon' is as mechanically melodramatic as any theatrical potboiler from the early 20th century...It’s not as if such stories don’t still have the power to stir suspense and tears. But this eventful, sung-through production out of London, directed by Laurence Connor, feels about as affecting as a historical diorama, albeit a lavishly appointed one. This despite the hard and dedicated work of its earnest cast." Full Review
"The show retains everything that made it noteworthy in the first place: Schönberg's ear-worm melodies, a massive ensemble of attractive dancers, and a helicopter landing onstage...Connor has opted for the more-is-more approach...When you look beyond the hulking scenery and 'American Idol'-style glory notes, you can see 'Miss Saigon' for what it really is: a bruising indictment of American self-pity in an age in which we still control the lion's share of wealth and power." Full Review
"True to its operatic source, the sung-through drama of 'Miss Saigon' is better conveyed via its sweeping, power-ballad-driven music than by its lyrics...Nevertheless, strong performances keep the proceedings stimulating, particularly that of Jon Jon Briones, especially charismatic as The Engineer...Powerfully voiced Eva Noblezada combines sensitive nobility and naiveté as Kim, and Alistair Brammer's rocker-belting Chris effectively displays the steady growth of PTSD." Full Review
"It’s less a song-and-dance affair in any recognizable sense than it is an ’80s summer movie, weighed down with ridiculous special F/X...Boublil’s lyrics are awfully leaden and generic, and Schönberg churns out predictably pseudo-Asian passages throughout the score—pentatonic patterns, flutes and plucked strings—the musicological equivalent of yellowface...Diversity on Broadway should be celebrated, but give actors of color characters we all can care about." Full Review
"Classy revitalization of an old, presumably boring property that proves to have plenty of life in it yet. The upscale revival should bring a tear to old-timers with romantic memories of the original schmaltzy score, while titillating newbies...The production values alone are a jaw-dropper...And just wait for his big getaway in 'The American Dream,' a show-stopper—and a career-maker for Briones." Full Review
“Schönberg's score is unfailingly melodic, but it doesn't add the requisite gravity and dramatic heft to such potboiler plotting. This is not for lack of trying…The lyrics are distressingly generic. It doesn't help that the characters are mostly one-dimensional and prone to dramatic flip-flops…Still, if you're a fan of ‘Miss Saigon,’ this is a first-class revival, both in terms of its cast and production values.” Full Review
"The production’s impressive visual spectacle, lively staging and crowd-pleasing vocal calisthenics cannot completely mask a script that leans heavily on emotional manipulation and one-dimensional storytelling...Perhaps a miraculous cast could take such blunt-force emotional instruments and soften them into credibility...If the new 'Miss Saigon' is powerful, it’s because of the powerhouse singing...In fairness, the revival delivers on the thrills that its fans are surely expecting." Full Review
"The most mega of megamusicals. For this mounting, though, the writers and director have striven to strip everything but the helicopter of that 'mega' status. And without it, not only does 'Miss Saigon' not work, it barely registers...Connor's sluggish staging, when it's not overly obvious hits the brakes on an evening that ought to be in near-constant acceleration...Then there are the performances, none of which rises above adequate...Their concerns become inconsequential...So does the show." Full Review
“This blockbuster is bulletproof against critical assaults on its...mawkishness, racial stereotyping, melodramatic overkill, and substantial lack of comedy...Still...it's hard to deny the show's ability to zing theatregoers' hearts...Briones, who's played the Engineer in multiple productions, captures his treacherous survivalist instincts without losing audience sympathy. He helps make this an entertaining, if unexceptional, revival of a show whose problems have become more apparent with age.” Full Review
"Here it comes again just about exactly 26 years after its first landing. It huffs and puffs and settles itself awkwardly but tenaciously...Throughout, everything possible to be done to overwhelm the patrons has been done. So congratulations of a sort go out to Connor for directing with power...As to the performers: Briones is a marvel. He’s a reason to see this bloated whip-up. Noblezada, Brammer and Clarke are all fine, but curiously, their singing is pitched at a strange adolescent level." Full Review
"It’s an opera for the tone-deaf: The dramatic gestures are broad and banal, and the faux-rock songs are exercises in louder-is-betterness whose tunes go round and round in tight little circles of melodic monotony. As for the lyrics, by Mr. Boublil and Richard Maltby Jr., they’re by turns tawdry and trite...While 'Miss Saigon' has a can’t-miss plot—it’s as potent today as it was for Puccini—the score, at least to my ear, is unendurable." Full Review
“Is it good? By no means. But it is big and happily boasts a lead actress who with better material might just become a star. The story is over-heated nonsense, but then so is most opera…The sense of the creative team rehashing what worked before in ‘Les Miz’ is palpable...The tunes are almost astonishingly bad from start to finish both in words and music and all the spectacle in the world can’t hide that…Still, spectacle there is, put across by an able cast." Full Review
"'Miss Saigon' is more relevant and heartbreaking today than when it premiered on Broadway in 1991...As directed by Laurence Connor, this solid and satisfying revival builds on the extraordinary visuals, nonstop adrenaline, sweeping emotions and pulsating musical score that characterized the original production while adding an unmissable brutality and grittiness...Briones, Noblezada and Brammer are giving high-intensity performances that stand on par with their predecessors." Full Review
"Sure, it's a brash, broad-strokes saga with questionable racial and gender representation and a taste for salacious vulgarity. But although director Laurence Connor has adhered to the basic contours of the original, his grittier approach exposes teeth in the material that I don't recall previously being so sharp...Noblezada is a legitimate discovery, just as Salonga was the first time around...This is brawny, crowd-pleasing entertainment." Full Review
"In condemning the exploitation of the Vietnamese while in alternate breaths exploiting them for Broadway-scale titillation, the show tries to have it both ways...It’s one thing to dramatize the degradation of women; it’s another thing to wink while doing it...The unrelieved hyper-emphasis of Laurence Connor’s direction basically squashes whatever might be good in 'Miss Saigon'...I am also sorry to report that the helicopter looks like a manatee." Full Review
"This bracing new production from London reminds that whirlybirds can’t whip up emotions. Only good actors can do that. The revival has plenty of them...Noblezada impresses Kim. She sings from a deep well of emotion and gets under your skin...Briones brings sleaze and sly humor to the role...His gritty take on 'American Dream' is a highlight. Too bad he’s also saddled with a gratuitous 'Make American great again' line. It mars the show's otherwise fine-tuned return." Full Review
“Ms. Noblezada’s has a gorgeous voice, but her chemistry with Mr. Brammer lacks the sense of love and betrayal needed to keep us on the edge of our seats. The emotional intensity just seems lacking and ‘Miss Saigon’ no longer seems epic. Bob Avian’s choreography lacks the luster the original had…If you have never seen this show, you will be entertained, but if you saw the original you will be underwhelmed, for the heat is gone in 'Saigon.'” Full Review
"This production is sensational in every way: visually and sonically (often painfully so). Most important, it’s brilliantly cast...'Miss Saigon' is a show that eats its cheesecake and has it too, like a skin flick that runs a banner at the end promising to donate proceeds to a home for wayward girls...The show’s high point, 'The American Dream'...is more chilling than I’ve ever seen it...The production’s other big discovery is Eva Noblezada...Noblezada radiates conviction." Full Review
"The helicopter may not be completely the real thing but with the help of lighting and strong fans, it's still pretty amazing...Using that spectacle factor and the quality of the singing as a baseline to judge whether 'Miss Saigon' holds up, the answer is 'yes.' This is the biggest, most spectacle-rich show in town...Noblezada sings with enough feeling to touch even the most cynical members of the audience...Current events make this new production as sadly timely as it is entertaining." Full Review
"Eva Noblezada has an enormous, poignant strength and a piercing voice that can delicately float as confidently as it blasts. Alistair Brammer has the voice, the jaw and the muscles of a gentle American giant...The story feels more urgent amid renewed refugee tragedies and our consciousness of the sex trade. And the narrative—helped by unusually graceful lyrics—almost distract from the generic Euro-pop ballads and anthems that sound like many we’ve heard before." Full Review
"Once again the music is merely loud when it needs to be affecting...Rather than giving us an impression of the repressive regime, director Laurence Connor and choreographer Bob Avian turn these songs into typical Broadway showstoppers...If only the songwriters had recycled more from Kander and Ebb...The lyrics by Boublil and Matlby Jr. can be summed up in their creation of a character named John. He isn’t named Bruce because Bruce doesn’t rhyme with Saigon." Full Review
"The new 'Miss Saigon' is as hypnotic in its storytelling as it is overwrought in depicting its small tale of five people caught up in events beyond their control. As one might expect from one of the blockbuster British musicals, everything about it is huge. Luckily time has made its underlying theme of the fate of refugees caught up in war both relevant and immense too." Full Review
"An elaborate staging, which at times vies for attention with the talented cast...Briones is the focal point of this 'Miss,' part-character and part-narrator, emceeing his way across Asia with gyrating hips and snarky asides...Noblezada is effective...The helicopter scene remains phenomenal...My issues with 'Miss Saigon' aren’t deal-breakers: the orchestrations sometimes unintentionally subvert the presence of the actors. And the initial bond between Kim and Chris isn’t sketched out enough." Full Review
"The ballad-heavy score remains, for the most part, slightly soporific; the Vietnam-era-set libretto is both melodramatic and sometimes offensive, and Connor’s direction favors assaulting the senses whenever possible. That means the helicopter is bigger and more realistic than before. And the first act somehow seems livelier, in part due to its complete lack of subtlety. But the only real reason to even consider seeing this show are the outstanding performances from the three leads." Full Review
"'Miss Saigon' soars to the rafters...Director Laurence Connor has darkened the tone considerably...Casting is key in this production...Young Eva Noblezada, discovered while in high school, is quite a find with the instincts of a seasoned veteran and the vocal range to match. With Alistair Brammer as Chris, the doomed lovers raise tragedy to epic proportions...This is a most worthy revival, and now, minus the controversy, fans are free to re-live the thrill." Full Review
See it if story of a young and defenseless girl forced into prostitution,and then abandoned by the man she loved will break your heart.Deep,intense.
Don't see it if don't miss it...great acting,great scenic design,eloquent musical score,and a luminous performance by Eva Noblezada in her Broadway debut
See it if You intensely love this show or are nostalgic for grand, overstuffed, lavish, dramatic musicals from the 1990s.
Don't see it if You're not a fan of this show (this revival is nothing new, save two great leads and a few new lyrics) or other Les Miz-style musicals.
See it if you want to be swept up in an epic love story with an achingly beautiful, lush score. It's a huge, emotional musical.
Don't see it if you don't like sung-through musicals or if you're looking for something scaled-down and intimate.
See it if Classy production with frills and thrills, great voices, score, choreography and personal tragedies of war that cannot ever be forgotten.
Don't see it if you do not appreciate sung-through musicals; you prefer an intimate theater with an intimate setting; war stories are not your thing.
See it if You want a new look at a fabulous musical. It is humongous and intimate at the same time! Great show!
Don't see it if You don't like musicals. It is sung throughout. Also, there is extreme spectacle which does turn some people off.
See it if You love big loud musicals with lots of bells and whistles that are really bittersweet love stories at their core.
Don't see it if you prefer small intimate musicals and not big loud ones with large casts, and large sets, and lots of bells and whistles.
See it if You want to see this classic, complete with helicopter. The Engineer was phenomenal!
Don't see it if If you didn't see it the first time around, this version feels dated and simpering, doesn't live up to the hype of the past.
See it if you want to see a classic Broadway musical. Kim and the Engineer are amazing.
Don't see it if You find violent and/or sexual themes upsetting.
Also I went in with high expectations and didn't feel they were met.
See it if you are intrigued with the concept of staging Madame Butterfly during the Viet Nam war. By composers of Les Mis, though. Wonderful.
Don't see it if you are worried about mussing you hair. Helicopter on stage.
See it if You want to see a poignant story performed in a spectacular staging of the whole Vietnam war complete with helicopter.
Don't see it if You are OK with cynical critics closing down a show with immense popular appeal.
See it if you're in the mood for some powerhouse vocals. You want to see a grand scale classic broadway musical. you want big and soaring and epic
Don't see it if you want a happy ending, are not in the mood for something intense. you want sizzling chemistry between the leads or profound lyrics
See it if you want to see a classic Broadway show especially if you didn't get to see the original production. Great performances all around.
Don't see it if you saw the original and are not IN LOVE with it since it's not as "revolutionized" as they claim it to be. Or you don't like tragedies
See it if You have never seen Saigon before and you want to see a perfectly fine production of the show. It was good but not great.
Don't see it if You can't stand sung through musicals. At times I was playing name that Les Mis tune. All of the performances were fine, but not a must see.
See it if You love a huge melodrama with a soaring score and lots of big singing and spectacular production values.
Don't see it if You're upset by racial and gender politics that are exceedingly dated. The show is politically insensitive which makes it challenging now.
See it if you want to hear an amazing score sung beautifully. It's a classic that everyone should see!
Don't see it if you are looking for something modern. This is fairly outdated, but it's also a classic so I was able to put that aside.
See it if you want to see a really well-done restaging of a popular show; sets and acting are fantastic
Don't see it if you don't like Miss Saigon in the first place; it's still not the greatest show ever written
See it if like a neo-classic piece of musical theater, well-done, well-staged, but with darkness among the glitz and lights. A Heart-Rending show.
Don't see it if don't want to be touched emotionally or want something upbeat and happy.
See it if you enjoy powerhouse vocals even if the songs are not very memorable; you're open to emotional moments and a complicated ending
Don't see it if you dislike sung-through musicals, unnecessarily crass displays of sex, profanity; a joke about the current political climate is distracting