Miss Saigon 25th anniversary gala performance set for September

A scene from Miss Saigon at the Prince Edward Theatre, London. Photo: Tristram Kenton
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Cast members from both the original West End production of Miss Saigon and the current revival of the musical at the Prince Edward Theatre are to appear onstage together in a gala performance this September.

To celebrate the show’s 25th anniversary, performers from the original production – which opened on 20 September 1989 at the Theatre Royal Drury Lane - will join for its finale.

Tickets for the show, on September 22 at 7pm, will be available for the same price as they were in 1989 – ranging from £13.50 to £22.50.

The evening will be recorded for broadcast on BBC Radio 2 on September 28.

Miss Saigon is currently booking until April 2015.


  1. I am 72 years old and have been a musical enthusiast as long as I can remember and I can honestly state that I have never known a time when the quality of such shows has been as bad as now.
    The fact that the hottest ticket in the West End should be for a 25 year old musical is, for me both sad and shocking.
    Even allowing for the fact that we live in mediocre times generally the excitement being generated over this latest revival is a testimony as to how bad things have become; the above news article should be about a brand new show just about to open a set the new theatrical season afire.Instead musical lovers are flocking in desperation – and they must be desperate since in actuality ” Miss Saigon” has never really been away- to see a show which is was new when the Prime Minister was a woman.
    Why? Well perhaps it is because with all it’s faults (and it has many) this musical actually contains good music.Indeed the music has proved to be strong enough to have lasted a quarter of a century and has been sung and recorded by numerous artists and ensembles all over the world.It is one of those shows whose melodies are so memorable that the mere mention of a title instantly brings back the tune.
    Today- right now- nothing that has not gotten cobwebs hanging from the curtains has that ability.We have long past the “came out whistling the scenery ” bit and are on to humming the ring tone from the person next to one in the interval. Despite Mark Shenton’s regular attempts to talk up new musical talents not one of his discoveries have managed to produce anything memorable.Don’t take my word for it ask Tim Rice who recently burnt his fingers in this respect.
    Or try reading the book “Loverly- the Life and Times of My Fair Lady” to see how far we have fallen.Even allowing for changes in musical fashion this is the “shocking ” part which I alluded to earlier since it is impossible to imagine any composer(s) nowadays applying the amount of sheer,hard work and dedication to a project as Lerner and Leowe did to this seemingly impossible one.And the ease with which they composed (and disposed!) of particular songs is enough to make any senior song lover like myself howl with frustration.
    Where are the catchy “take home songs” now? The great,Original Cast Albums? The hit tunes in the top ten ? True,Broadway no longer rules the musical waves and that is part of the problem.
    Today ‘s popular music has become fragmentated to a degree that no one source can dominate it.This is not of itsself the problem; there is no actual harm in diversification after all variety is indeed the spice of life.What is causing the steep decline in musical quality is the strangling of what talent there is by a ruthless,relentless music industry which is conservative to a degree that I have never known and who’s main aim is simply to maintain the abysmally low standard of composition that has become the norm at least since this century began.
    People like Andrew Lloyd Webber like to blame the fall and fall of musicals on costs alone but I am not buying this self – apoligising line.His a Lordship at least can still turn out a decent tune but then he is who he is and with his money and power can do what he please music industry be damned.It is just unfortunate that he has always lacked a good,stimulating collaborator and being so cut off from the real public outside of Downing Street,left to his own devices he has become an old man with old and increasingly old ideas.
    And the only other important player in town – the Producer of “Miss Saigon ” is just that and never a composer.(And settled down to a life of reviving his old successes)
    So, what of the future ? These comments extend to Broadway as much as the West End, right now there are no huge hits playing in New York to look out for; nothing new anyway with the same,dull,malaise stifling that city. That “Book of Mormon” is still the show to see there says all that one needs to know about how much excitement the once,proud capital city of musicals now exudes.
    One can only hope that this present situation will prove to be a generational thing and that the children growing up now will prove to be less complacent and apathetic than the present one.
    Should this not be the case then I shudder to think what ugly,empty nonesense will be playing in theatres. No tunes,no melodies, just noise and spectacle played out in increasingly decrepit theatres by public acclaimed “stars”
    Of course it is always the thing for old folks like myself to write caustically about “modern tastes” (and sound old) The trouble is that today,for the first time there are no modern tastes, no real styles or fashions to criticsise only a blandness and a overpowering sensation seeping through the pages of this newspaper et al of boredom and lack of ideas.
    So have your gala; get all dressed up; pay a fortune for tickets and make a fuss and furour and pretend that it still the end of the 80 s and this show is new and true.For myself I shall sit this one out…



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