Review: MISS SAIGON at Shea's Buffalo Theatre

Buffalo audiences are in for a rare treat. The Broadway revival of the hit musical MISS SAIGON soared into town last night in what can only be described as a spectacular evening of theatre. First seen on Broadway in 1991 at the height of the megamusical phenomenon, MISS SAIGON continues to resonate with age. Those familiar with Puccini's opera MADAMA BUTTERFLY will not be disappointed in the updating of the story by composer Claude-Michel Schonberg and lyricists Richard Maltby and Alain Boubil.

MISS SAIGON begins in Saigon in 1975 where a young woman, Kim, becomes part of a sex ring and falls in love with the first GI, Chris, who buys her services. After a whirlwind night of romance and an on the spot marriage, Chris returns to the States leaving the pregnant call girl with hopes of his return. Three years pass before the GI is summoned back with his new American bride and the predicament of what to do with Kim and their toddler son.

Emily Bautista is Kim, and finer casting could not be imagined. Her innocence and fear meld into pure love for her GI and then unbridled determination to find him. Bautista has a powerful voice that suits the score's many vocal challenges- from subtle love songs to declamatory power ballads. She is paired with the handsome Anthony Festa as Chris. Compared to the Puccini opera where this character is solely a cad, Chris actually falls in love with Kim and is believable in his desire to bring her back to the States after their marriage. Mr. Festa imbues Chris with a genuine and affable nature that is endearing. He matched Bautista's vocal power, intensity and beauty. Their love duet "The last Night of the World" was magnificent.

The seediness of Saigon is magnified by the character of the Engineer, played by Red Concepcion. He runs the brothel, sells the girls, snorts cocaine and wants out of Saigon and into the USA will all his being. The Engineer was our emcee of sorts, with his slimy nature and vulgar language. The girls working for him feared him but without him would be nothing. Mr. Concepcion was easy to hate but was enjoyable at the same time. He would sell his mother for a chance to escape. His ACT II "The American Dream" was ironic in it's glitz and glamorous production values that ultimately disintegrate, just as the dreams of so many others in Saigon at the time.

J. Daughtry is Chris' pal John, also working in Saigon at the American Consulate. He becomes instrumental in reuniting the lovers through his work in the US after the war. Daughtry brings a dignity to the thankless role of intermediate between the two. Stacie Bono is the American wife, Ellen, and her involvement becomes poignant as she travels to Bangkok to help Chris deal with his situation. The physical contrast of the blonde American wife and the slim dark haired Kim was eerie.

Having ended it's Broadway revival last season, this production mirrors that seen in New York, and spares no expense or detail. A first class cast of 42 is racially diverse and epically talented. Director Laurence Connor has created a fascinating staging, working with the intricate design concept by Adrian Vaux, with the production design of Totie Driver and Matt Kinley. The promise of an onstage helicopter may sound like a gimmick to sell tickets, but the effect of an actual helicopter hovering over the stage while GI's and a few lucky refugees board it was awe inspiring. And not just for theatricality, but for the effect of screaming villagers standing in front of a fence begging to board, while the flashing lights and sounds of the aircraft became overwhelming to the senses conveying true desperation.

Schonberg's score runs the gamut of styles, not unsimilar to his other sung through hit LES MISERABLES. Where the score succeeds the most is in it's operatic sweep in telling the heart breaking story. The quartet "The Confrontation," sung by Chris, Ellen, John and Kim gives a lovely nod to Puccini's opera- with each character declaring their sadness and remorse over the situation. His military marches evoke strength and power in the new Ho Che Minh City. And the power of "Bui Doi," a number where John explains the plight of so many unwanted children left behind in Saigon.The knowledge that other similar one night stands produced so called "half breed" children left without families was a cruel reality. Contemplating our present day refugee situation seems like very little has changed in the 21st century.

The brilliant Bob Avian was in charge of musical staging and choreography. Best known for his work on A CHORUS LINE, Avian's style delineates the raunchy characters of the call girls, the precision needed for the military scenes along with the ability to dazzle with full Broadway production numbers, like "The American Dream." The crowd scenes with this very large cast were handled expertly, given that organized chaos on stage is very difficult to attain.

The climax of the production is delivered with gut wrenching reality that screamed of operatic proportions. As the young child Tam, played beautifully by Jace Chen, is handed off to his new American family, Kim ends her life with the weapon Chris gave her to protect herself. Mr. Festa's guttural reaction was enough to send shivers down anyone's spine, as the fantastic tragedy comes to its tearful conclusion.

MISS SAIGON plays at Shea's Buffalo through March 3, 2019. Contact sheas.org for more information.