A new production of the musical set around the end of the Vietnam War has responded to some criticism, without damaging its essential appeal.
over the years can be traced to its source material, although the good news is that this production made a couple of lyrical and staging tweaks that should blunt some of the criticism.For instance, the “wedding” song for Chris and Kim, which the composers originally wrote as gobbledygook, now has actual Vietnamese words. There’s a subtle change to the showstopping, altering a denigrating phrase that has always annoyed many in the Vietnamese community.
The wartime setting invites spectacular stagecraft, and this production outdid itself. The helicopter hovering over the fall of Saigon in act two might remain the calling card, but the huge puffing dragon with massed soldier choreography which heralded the triumph of communism, complete with a monumental Ho Chi Minh frieze, was as spectacular as the surround-sound strafing of machine guns were shocking.The performances lived up to the lavish surrounds.
Abigal Adriano’s gorgeous, knowing voice lent a three-dimensionality to Kim that the script sometimes lacked, while Nigel Huckle as Chris was firmly in the Broadway tradition, but no less powerful and likeable a presence for that.won’t silence all the haters, but it surely proved it’s too good a piece of musical theatre to consign to the dustbin of history.
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