Miss Saigon (Broadway) NYC Reviews and Tickets
Show-Score Member Reviews (1,670)
See it if you enjoy big, epic musicals with grand staging and wonderful performances.
Don't see it if you don't like big Broadway musicals.
See it if words cannot describe how phenomenal this show was. Absolute must see!!!
Don't see it if omg just see it
See it if If you enjoyed Lea Miserable. This is an absorbing production. Stunning
Don't see it if If you don't like opera like musicals or thought provoking theater
See it if See this production no matter what! It's unbelievable! I am completely floored! I was blown away!
Don't see it if Don't see this show if you don't like sung-through musicals/operas. There is no other reason really.
See it if The best cast and most innovative and layered show on Broadway now. Wonderful set and mood changes. Like Rent, framed an opera for Broadway.
Don't see it if I can't think of a reason. Don't know how I missed entire first run, and went on a whim to the revival. Better than Dolly as a revival. Read more
See it if You want to see an entirely new show, with only a change in tone. It's the show you love, but edgier, and it makes it like the first time.
Don't see it if You can't picture anyone but Lea Salonga. It took a couple of songs to lose the comparison, and then it was startlingly good.
See it if You love a good story line and love story
Don't see it if If you are looking for a happy ending
See it if It’s a must see. Beautiful, moving, captivating. Beautiful love story. I cried so much but loved it from beginning to end.
Don't see it if you want a happy ending
Critic Reviews (46)
"Making lots of noise but managing to say precious little...All-too-mechanical revival...There’s still bracing romanticism in the score...But...you’re conscious of an absence. That would be the missing ingredient of outsize performances, to match what is supposed to be a politics-infused love story of epic scale...They come across less as people than as war-story archetypes. Lacking incisive emotionality, the plot rolls along flatly."
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"The show is completely sung-through, which was common in the ’90s but feels a bit dated today. Further, much of those songs are sweeping, melodramatic ballads...Eva Noblezada is probably the show’s biggest wow (sorry, helicopter)...In general, this new iteration has a more appropriately gritty feel than the show had in the ’90s, from the physical set to the portrayal of Americans and the consequences of war. Still, it’s a pretty darn schmaltzy show to begin with."
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"'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."
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"'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."
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"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."
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"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."
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“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.”
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"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."
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