Miss Saigon Previews Thread- Page 7

[jsg03jd]

Posted: 3/4/17 at 2:22pm

theatregoer3 said: "mailhandler777 said: "jsg03jd said: "

-- I miss the automated trucks from the original productions in Drury Lane and the Broadway Theatre.  The new sets are too basic and look like they belong in a touring production, not on Broadway."

They will be used in the touring production."

 

I also missed the automated trucks from the original. The spike marks and non-automated pieces are what cheapens the overall effect. The original was a technological wonder. You'd have to either push that further or go in a completely different direction in order to compete with it. John Napier was an incredible artist and this production did make me wish he was designing new shows again.

 

 

Why would the touring production use more expensive set pieces closer to John Napier's automated designs than the ones currently in the Broadway Theatre?  That does not sound economically or artistically sound to me.

[jsg03jd]

Posted: 3/4/17 at 2:28pm

eatlasagna said: "Btw... did anyone see the non equity tour? I feel like they kinda used the same set design and staging... but not entirely the same... did they for the revival?

 

Which one was that?  In Arena Stage in Virginia in 2013 or the one led by Charlie Brady and Manna Nichols?  The Brady/Nichols production I saw in Hartford had sets similar to the ones in New York now minus the scaffolding.  For instance, everything after the TELEPHONE SCENE until THE LAST NIGHT OF THE WORLD now occurs in Dreamland whereas before it took place in Kim and Chris's room.  Guess that's why Kim now sings, "I can bring friends to bless our love" instead of "our room."

[QueenAlice]

Posted: 3/4/17 at 2:44pm

It made sense for Jonathan Pryce to have the final bow in the original production. Aside from the fact his performance was one of the greatest in the history of  musical theatre (and has never been touched in the role) he was an established known star. Angela Landsbury took the final bow in SWEENEY as perhaps a similar point of comparison.

But I agree, in this production it makes no sense for the Engineer to have the final bow. Jon Jon would honestly look better letting Eva take the final.

[eatlasagna]

Posted: 3/4/17 at 3:14pm

jsg03jd said: "eatlasagna said: "Btw... did anyone see the non equity tour? I feel like they kinda used the same set design and staging... but not entirely the same... did they for the revival?

 

Which one was that?  In Arena Stage in Virginia in 2013 or the one led by Charlie Brady and Manna Nichols?  The Brady/Nichols production I saw in Hartford had sets similar to the ones in New York now minus the scaffolding.  For instance, everything after the TELEPHONE SCENE until THE LAST NIGHT OF THE WORLD now occurs in Dreamland whereas before it took place in Kim and Chris's room.  Guess that's why Kim now sings, "I can bring friends to bless our love" instead of "our room."

 

"

It's the tour that also starred Jon Jon Briones when it first opened... Jennifer Hubilla was Kim and then Jennifer Paz replaced her (which I believe was drama because she left equity)... it was also the tour that used a projection helicopter... it was in the mid 2000s when it opened and then it toured the U.K. With the same design 

[wish i were here2]

Posted: 3/4/17 at 3:32pm

Currently at the matinee, and Lianah Sta. Ana is performing as Kim! Is this her first performance?

[Luscious]

Posted: 3/4/17 at 3:34pm

"But I agree, in this production it makes no sense for the Engineer to have the final bow. Jon Jon would honestly look better letting Eva take the final."

Eva and Jon Jon should walk out and take the final bow together. Problem solved.

[A Director]

Posted: 3/4/17 at 3:41pm

The chopper should take the final bow!

[A Director]

Posted: 3/4/17 at 3:49pm

Broadwaystar2 - You wrote, "Perhaps its relevancy to what's actually going on in this country and around the world? Could that have something to do with it? Or do you live in another world where the refugee and immigration saga aren't happening?"

Ha! Ha! Ha! Cameron Mackintosh revived the show to make more money of it.  More power to him.

Miss Saigon is a stale melodrama that traffics in stereotypes.  It's a story of the East told by the West.

Last fall, the MTC presented VIETGONE by Qui Nguyen.  Compared to Miss Saigon, it is more relevant to what went on and what still goes on in this country and around the world.  The Vietnamese characters are three dimensional.

[BeNice]

Posted: 3/4/17 at 4:32pm

I saw this last night.  JonJon Briones is amazing. He should absolutely get a Tony nomination. Eva N. is very poised for someone so young which is impressive. The rest of the principles are solid, and the ensemble is really incredible and unique.

If you are looking for a super ground breaking version of Miss Saigon, this is not it, but I don't think this piece calls for it. I think it is simply a very well done version of this musical where a lot of the elements surpass the original. Kudos to all those involved on stage and behind the scenes. 

 

[broadwayghost1]

Posted: 3/4/17 at 4:34pm

I liked it better than the original!!

[sing_dance_love]

Posted: 3/4/17 at 4:46pm

Caught last night's preview and love, love, loved it. Miss Saigon was one of the first shows I was in as a young performer and has held a very special place in my heart all these years. With the chance to finally see it on Broadway, i was understandably pumped.

First and foremost, the score is just absolutely gorgeous. And a huge round of applause has to go to the orchestra which sounds phenomenal. With Sunset, this, and the recent Lincoln Center R&H shows, it is so wonderful to have big lush orchestras back on Broadway! I have always been so impressed with how "right" the musical feel of the show is. I think the writers had to have been extremely moved by and impassioned by their inspiration and the story they wanted to tell and it just soars through in the music. For me, it's easily one of the best scores of the 90s, and in the conversation of the top of the last 4 decades. The only problem I've had with this show is that the beginning has always felt rushed, they really drop you right in the story at an emotional 10, and it just takes a moment to get your bearings. It's only been a couple minutes and suddenly we're at a moment as intense and dramatic as "The Movie In My Mind" and we just don't know enough about any of the characters yet. Fortunately MIMM has always been stunning and with singing this gorgeous, you just get right on board.

Alright. Eva. Noblezada. I was so captured by the nuance in her voice. She has such a great grasp on the range of this (incredibly demanding) role and sings and acts with genuine and affecting passion. In a show that can often be loud, loud, loud, she is never afraid of softness. There's a moment when she appears on the SL stairwell and sings "I still taste your kisses...your voice sings in my ear. You can betray what we were yesterday, but you'll come back tonight for him" that she infuses with such tenderness and dreamy remberance wrapped in a shell of weary despair that is breathtaking. I could not take my eyes off her and this is a performance that will stick with me for some time.

The rest of the cast succeeds in varying degrees. Christopher and Go equip themselves well and deliver strong performances, him especially resisting the temptation to oversing, which I appreciated. Brammer has a lovely lost little boy quality that serves him well and his chemistry with Noblezada makes their romance in the first act really lovely. His singing is hit or miss with an occasional throaty tone and reliance on vibrato that can be off-putting. But he has legitimately gorgeous moments and has a really wonderful earnest quality about him. Briones is just fantastic and is just so right in this role. Just a bit too much ad-libbing for me, but he is menacing, mischevious, and charismatic throughout. I was really impressed with Katie Rose Clarke as Ellen, which has got to be just one of the most thankless roles in the musical theatre. I just believed every second with her and she made Ellen seem fully fleshed, it made me look at the character with fresh eyes. She sounded great on a re-tooled "Maybe" which, though not as melodic as previous versions of this moment, was effective in portraying the bewilderment, doubt, fear, and determination this woman might be feeling. Her moments with Brammer in the hotel were a highlight. Great acting. 

I came away really enjoying the staging and set design. The helicopter is even more shocking and exciting than I could have imagined it and the two large production numbers are thrilling. The ensemble, throughout, is fantastic. 

The night distills itself down to one thing for me. A moment with lyrics as boldly and brilliantly passionate as "You will be who you want to be. You can choose whatever heaven grants. As long as you can have your chance, I swear I'd give my life for you" coupled with music and orchestration so heart-poundingly beautiful is a moment as transcendent as any ever on Broadway, for me. I am so glad Miss Saigon is home. 

Updated On: 3/4/17 at 04:46 PM

[broadwayghost1]

Posted: 3/4/17 at 4:59pm

sing_dance_love said: "Caught last night's preview and love, love, loved it. Miss Saigon was one of the first shows I was in as a young performer and has held a very special place in my heart all these years. With the chance to finally see it on Broadway, i was understandably pumped.

First and foremost, the score is just absolutely gorgeous. And a huge round of applause has to go to the orchestra which sounds phenomenal. With Sunset, this, and the recent Lincoln Center R&H shows, it is so wonderful to have big lush orchestras back on Broadway! I have always been so impressed with how "right" the musical feel of the show is. I think the writers had to have been extremely moved by and impassioned by their inspiration and the story they wanted to tell and it just soars through in the music. For me, it's easily one of the best scores of the 90s, and in the conversation of the top of the last 4 decades. The only problem I've had with this show is that the beginning has always felt rushed, they really drop you right in the story at an emotional 10, and it just takes a moment to get your bearings. It's only been a couple minutes and suddenly we're at a moment as intense and dramatic as "The Movie In My Mind" and we just don't know enough about any of the characters yet. Fortunately MIMM has always been stunning and with singing this gorgeous, you just get right on board.

Alright. Eva. Noblezada. I was so captured by the nuance in her voice. She has such a great grasp on the range of this (incredibly demanding) role and sings and acts with genuine and affecting passion. In a show that can often be loud, loud, loud, she is never afraid of softness. There's a moment when she appears on the SL stairwell and sings "I still taste your kisses...your voice sings in my ear. You can betray what we were yesterday, but you'll come back tonight for him" that she infuses with such tenderness and dreamy remberance wrapped in a shell of weary despair that is breathtaking. I could not take my eyes off her and this is a performance that will stick with me for some time.

The rest of the cast succeeds in varying degrees. Christopher and Go equip themselves well and deliver strong performances, him especially resisting the temptation to oversing, which I appreciated. Brammer has a lovely lost little boy quality that serves him well and his chemistry with Noblezada makes their romance in the first act really lovely. His singing is hit or miss with an occasional throaty tone and reliance on vibrato that can be off-putting. But he has legitimately gorgeous moments and has a really wonderful earnest quality about him. Briones is just fantastic and is just so right in this role. Just a bit too much ad-libbing for me, but he is menacing, mischevious, and charismatic throughout. I was really impressed with Katie Rose Clarke as Ellen, which has got to be just one of the most thankless roles in the musical theatre. I just believed every second with her and she made Ellen seem fully fleshed, it made me look at the character with fresh eyes. She sounded great on a re-tooled "Maybe" which, though not as melodic as previous versions of this moment, was effective in portraying the bewilderment, doubt, fear, and determination this woman might be feeling. Her moments with Brammer in the hotel were a highlight. Great acting. 

I came away really enjoying the staging and set design. The helicopter is even more shocking and exciting than I could have imagined it and the two large production numbers are thrilling. The ensemble, throughout, is fantastic. 

The night distills itself down to one thing for me. A moment with lyrics as boldly and brilliantly passionate as "You will be who you want to be. You can choose whatever heaven grants. As long as you can have your chance, I swear I'll give my life for you" coupled with music and orchestration so heart-poundingly beautiful is a moment as transcendent as any ever on Broadway, for me. I am so glad Miss Saigon is home. 

 

"

My thoughts exactly!!!!!!!! 

[LizzieCurry]

Posted: 3/4/17 at 5:00pm

Didn't the most recent non-Eq star Franc-Anton Harwart as the Engineer? Around 2005 or so?

[Play Esq.]

Posted: 3/4/17 at 6:32pm

I was on the fence about seeing this again though loved it as a teenager. Recently listened to the London recording and, I have to say, I find the lyrics so schmaltzy. The above quoted passages did not change my perspective. 

Giving this a pass, methinks. Will try and catch an additional performance of Pacific Overtures instead.  

[wish i were here2]

Posted: 3/4/17 at 7:09pm

Just got back from the matinee and I thought it was a really good! Lianah Sta. Ana was on for Kim, I think it was her first performance. Any who though I was a little sad I wouldn't be seeing Eva, Lianah blew it out of the park! She was amazing; you never would've thought it was her first performance. The rest of the cast was sensational, especially Jon Jon. But, honestly the true star of the show was that helicopter, I knew it was coming, but when it actually showed up my jaw dropped to the floor. 

Also, about the infamous Trump line, it did come out of no where, but it got A LOT of laughs, so they will most likely keep it in the show, but I didn't think it hurt the production in any way. 

[BroadwayConcierge]

Posted: 3/4/17 at 7:10pm

Oh, no! Does this mean Ana is on for Saturday matinees? That's when my tickets are for

[wish i were here2]

Posted: 3/4/17 at 7:14pm

BroadwayConcierge said: "Oh, no! Does this mean Ana is on for Saturday matinees? That's when my tickets are for "

When I rushed this morning, I had this gut feeling Lianah was going to do the matinees, and I was right. Though you MIGHT miss Eva, Lianah was really good! 

 

[RippedMan]

Posted: 3/5/17 at 12:25am

Where were your rush seats? 

[jsg03jd]

Posted: 3/5/17 at 12:48am

wish i were here2 said: "BroadwayConcierge said: "Oh, no! Does this mean Ana is on for Saturday matinees? That's when my tickets are for "

When I rushed this morning, I had this gut feeling Lianah was going to do the matinees, and I was right. Though you MIGHT miss Eva, Lianah was really good! 

 

 

I'd love to see the new alternate Kim/Kam Cheng's heir apparent.

[jsg03jd]

Posted: 3/5/17 at 12:52am

GreasedLightning said: "Where was everyone sitting? Any seat advice/reports?

 

I recommend front mezzanine center so you can appreciate everything happening onstage.

[eatlasagna]

Posted: 3/5/17 at 2:03am

LizzieCurry said: "Didn't the most recent non-Eq star Franc-Anton Harwart as the Engineer? Around 2005 or so?

 

"

Yes... I believe he replaced Jon Jon who originated the engineer on the tour 

[Dancingthrulife2]

Posted: 3/5/17 at 2:07am

A Director said: "Broadwaystar2 - You wrote, "Perhaps its relevancy to what's actually going on in this country and around the world? Could that have something to do with it? Or do you live in another world where the refugee and immigration saga aren't happening?"

Ha! Ha! Ha! Cameron Mackintosh revived the show to make more money of it.  More power to him.

Miss Saigon is a stale melodrama that traffics in stereotypes.  It's a story of the East told by the West.

Last fall, the MTC presented VIETGONE by Qui Nguyen.  Compared to Miss Saigon, it is more relevant to what went on and what still goes on in this country and around the world.  The Vietnamese characters are three dimensional.

 

"

So whoever is producing the Hello Dolly revival doesn't want to make money off it?

Updated On: 3/5/17 at 02:07 AM

[Javi]

Posted: 3/5/17 at 3:12am

My ticket is for a Saturday matinee, so I guess I'll be missing Eva.

i originally had an evening ticket, but then I decided to see the Julianne and Derek Hough show at Radio City Music Hall which is on the same night and I called Telecharge to swap my Miss Saigon seat to the matinee. Fingers crossed that Saturday matinees aren't permanent for the stand-by. 

[Skip23]

Posted: 3/5/17 at 4:36am

Dont worry - the stand by for Kim is MUCH better. 

[Dave28282]

Posted: 3/5/17 at 6:04am

From the clips I have seen from Lianah Sta. Ana, she is fantastic and has a more natural way of acting and singing than Eva. Actually, she reads more like a Kim to me than Eva, type wise too.

There is this sincerity about her that the role needs, which I think also matches Alistair's Chris very well.

Updated On: 3/5/17 at 06:04 AM