Above: Seann Miley Moore delivered a spectacular version of The Engineer in this production, shining with contrast and a charismatic command of the stage. Featured image: Laurence Mossman as Thuy and the cast of Miss Saigon. Images : Daniel Boud.
The heat is definitely on at the moment at the Sydney Opera House. Opera Australia’s revival of this emotional roller coaster of a musical thunders back into our local sensitivity, in a time where the
horror of war is still evident on our global radar.
This busy, evocative and revised production by Cameron Mackintosh, direct from the West End gives Alain Boublil and Claude-Michel Schoenberg’s modernisation of the Madama Butterfly tragedy a fierce buzz of atmosphere, heightened desperation and a sharp reminder of a terrible history.
There are added musical numbers from the 1995 version to emphasize the narrative with numbers such as ‘Too Much For One Heart’. The scenes are gritty, and the choreography even more breathtaking. Pivotal moments such as the fall of Saigon and the rise of the Communist regime are heightened by compelling formation staging.
Manipulation of props and sets within the set is slick across this cleverly lit stage. The drama surges along with amazing movement, placing of action above the stage and deep beyond it. There is penetrating lighting and frighteningly real sound effects completing the harrowing package.
An impressive ensemble pushes through the futility, displaying the detritus of war and the confusion of survival. The true trophy of war stories here is the solid team of local talent bringing the tales of
Americans and Vietnamese stuck in the ‘shambles of a war’ to life for us four decade after the legendary loss by Western forces.
Casting is solid here, with voices fitting the Opera House location and a modern revival of the characters. The intensity of performances and the relentless emotional tessitura required by this modern classic of musical bombard us with subtlety and slingshot tugs at heartstrings at once.
Above: Abigail Adriano as Kim and Nigel Huckle as Chris in Act 1. Image: Daniel Boud.
Onstage chemistry vocal fireworks and energetic physicality are essential to the success of this storytelling. Neon-gilded makeshift clubs, the thrum of wartime noises and even heartbreaking real
footage of camps for mixed race children included here are not enough.
This cast’s individual and group vocal palette brings a huge range of vocal character and a variety of timbre to the directness of the set numbers.
For those of us who remember the big voiced, small-frame star Lea Salonga’s blockbuster portrayal of Kim in the original West End production, the world has a new diminutive diva in this production
with Abigail Adriano.
Hers is a gutsy, wistful and energetic incarnation of Kim. With such a secure voice, capable of delivering so many hues on the pain spectrum this is a compelling character to watch. Also her
journey is an accurate testament to those innocently caught up in and torn apart by war and occupation.
Above: Kerrie Anne Greenland in the role of Ellen.
Adriano’s onstage chemistry with equally huge voiced, securely characterised Nigel Huckle as Chris works on every level. Their infatuation during the exposition is beautifully believable. This musical throws the rival women in love with the soldier at each other in a more forceful way than in Puccini’s drama.
And the musical theatre talents pitted against each other from east and West create a special stand off as well as a compact, vocal and dramatic vignette of the challenges on both sides. ‘I Still Believe’ introduces the peace-time Ellen, now married to Chris and dealing with PTSD as a regular issue.
Kerrie Anne Greenland’s contrasting vocal colour, costuming and demeanour in this number brings another stunning female storyteller and strength to the stage, setting up suitable dramatic tension to unravel tragically later.
This production’s Kim forges a strong character and is dramatically focussed throughout. Vocal fireworks are impressive and so Opera House worthy in her sparring with Thuy (Laurence Mossman) in ‘You Will Not Touch Him’.
This moment of fierce protection from Kim in the story is a table turner and one of the more rewarding moments of vocal counterpoint. Passion has precision and great timing here.
Above: Nick Afoa and cast sing ‘Bui-Doi’. Image : Daniel Boud.
Seann Miley Moore’s portrayal of The Engineer is hands down the winner with regard to audience engagement, successful, entertaining narrative and presentation of an easy superstar status. Theirs is an exemplary effort to present a chameleon character amongst the shifting, stirring story’s emotion.
From the seedy makeshift Dreamland club scene in Saigon through the re-education scenes after Saigon fell, then back to Engineer duties in Bangkok and the fantasy sequence of ‘The American Dream’, this performer made the established role of feisty narrator their absolute own. The candid, cruel, flamboyance was extended to an exciting, elevated level for an edgy revival scene-stealing success.
Very exciting efforts also came from Kimberly Hodgson. Her Gigi was an effervescent team leader of the girls in the opening and later wedding ceremony scene. ‘The Movie in my Mind’ reached us from this dynamic performer with steady pathos.
Equally ammazing physicality in the Dreamland scene came from Nick Afoa’s John. His development throught the show from brothel bad boy to Bui-Doi and mother advocate was a svelte and convincing path travelled. By his side at all times was a warm contemporary voice in conversation, choir of conference veterans or during hectic exchange toward the end of this show.
If this is your ‘entree’ to musical theatre, to the Opera House , to the Dame Joan Sutherland Theatre, to the excellent housing of a musical at that opera theatre, or to the soaring, compact music of Boublil and Schoenberg, this event will be a powerful treat. If this musical is a favourite seen in earlier guises, this new production will transport you with a swift helicopter swoop to an explosive time at the theatre.