Miss Saigon

There are people who think that Miss Saigon is a marvellous musical – I am not one of them (along with around 50% of musical theatre lovers). It’s a show that divides opinion. So take it as a compliment when I say that Peninsula Light Opera Society (PLOS) bring such skill and commitment to every production that they even make this a magical theatrical event.

A friend posted this week (at the end of a long career on the professional stage) that she couldn’t tell the difference between PLOS and any city production. She’s right, and that’s not to the detriment of main stage shows, but a credit to the excellence of PLOS and the other MEGA (More Entertainment Generated Annually) Community Theatre Companies.

This time, the audience is blown away by the incredible Michael Fletcher’s set design (why is this man not designing for Main Stage productions?) from the moment it enters the theatre. Fletcher doesn’t just make peripatetic movable sets, he creates a mood, he strings coloured lights (Brad Alcock’s lighting design is also exceptional); he swivels buildings on tracks; he creates Saigon with the brushstrokes of an artist, so that we are engaged even before MD Anthony Bingham and his excellent orchestra start the overture.

Composing team Claude-Michael Schonberg and Alan Boublil must have wondered how they could possibly top their first offering Les Misérables, and the fact is …they couldn’t. Victor Hugo’s novel is about redemption and triumph over adversity…it’s gloriously uplifting. But when the source inspiration is Madam Butterfly …and when you add war and sleazy nightclubs to update the tragedy ….you are left with more tragedy, and not even a song you can go home humming.

Nevertheless, Director Scott Hili has done a stunning job of casting the piece and his blocking is crisp, his interpretation full of clarity, and he has got the very best from his cast.

The five main roles are all beautifully performed. Guada Banez is a beautiful Kim. She has a strong pop voice and is quite capable of opening up a fully operatic range when she needs to. She looks perfect and has a lovely edge of vulnerability in her acting. Opposite her – as her lover Chris – is Tom Green, a stupendous twenty one year old who, if there is any justice, is destined for a great career on the professional stage. His voice is rich in his chest register, and heart-achingly melodic in his head register. He has universal appeal to audiences of all ages. It’s called talent. He is tall and handsome and in the same mould as Damien Daneesh, current West End leading man. Look for the name in the future, because the sky is the limit for him.

Michael Laity’s wealth of professional experience shows in every move, every nuance of his stellar performance. He’s suitably vile as the pimp, The Engineer, and almost stops the show with two numbers. That kind of stage presence and audience command should never be taken for granted. The only mild criticism I have is that the characterisation was sliding dangerously towards being Fagin-esque on a couple of occasions. The character itself is so vile that I really wanted him to die of a heroin overdose at the end of his “American Dream” number.

Adam Jon, as Thuy, Kim’s cousin who was promised her in marriage, is strikingly impressive. Again, he has a voice like liquid velvet and is a joy to listen to.

Matt Woodford is another fine singer and actor. His sympathetic role of John added real humanity where it was badly needed and his rendition of the anthem Bui Doi brought goose-bumps to many of the audience (myself included) and the chorus singing of the ensemble was incredible.

The smallest role was beautifully filled by Matilda Doughty, playing Kim’s young son Tam. She was a delight at every appearance.

Chris’s American wife Ellen is beautifully played by Kaela Raku, a beautiful soprano with crystal clear top notes. This is her Melbourne debut, but she would be an absolute asset to any company.

Sisters Tess and Mon Sabbatucci did a very impressive job with the choreography and a third sister – Hannah – was a delight in the role of Mimi.

Marcello Lo Ricco brought his brilliant expertise to an impressive sound-scape, along with Steve Cooke and Brett Wingfield once again worked tirelessly on great costumes and production management.

All in all it was a triumph of production over substance, and I cannot wait to see what this marvellous company does with WICKED…which opens on New Year’s Eve, but I know where I will be to farewell 2016.

Coral Drouyn

Photographer: Michael Fletcher