In the ever-evolving landscape of musical theatre, few productions have managed to capture the hearts and minds of audiences quite like “Miss Saigon”. This timeless tale of love, set against the backdrop of the Vietnam War, has not only endured but evolved, reflecting the changing times and sensibilities of its audience.
Why Miss Saigon continues to captivate audiences: The enduring and evolving appeal of a controversial classic about love and war
FEATURES
09 September 2024
By Larissa Santhana Nair
From its powerful exploration of human resilience and sacrifice to its nuanced portrayal of complex characters, the musical continues to resonate deeply, offering fresh perspectives on themes of love, loss, and the enduring impact of war.
As “Miss Saigon” graces the stage at the Marina Bay Sands theatre in Singapore from now till Sept 29, 2024, it seems fitting to revisit this poignant musical that has captivated 38 million people across more than 32 countries and 350 cities, since its London West End debut in 1989.
ADDRESSING PAST CONTROVERSIES
It’s a well-known fact that since its debut, “Miss Saigon” has received its share of criticism from both the public and the theatre community. One of the most notable controversies arose when Welsh actor Jonathan Pryce was cast as The Engineer – a Eurasian character, for the Broadway run in 1991. This casting choice saw Pryce using “Asian” eye prosthetics, which sparked significant backlash.
The show has also been infamously critiqued for its portrayal of orientalism, white supremacy and paternalism. The character Kim, the 17-year-old orphan introduced as a virgin who becomes a sex worker, is often interpreted as weak, dependent and submissive. This interpretation is particularly evident when she is alluded to “represent” Vietnam in the song “Why God Why?” which is sung by Chris, an American soldier who falls in love with her.
When the musical was staged in Sydney in 2023, a city with a large Vietnamese diaspora population, it faced criticism for perpetuating harmful stereotypes about Vietnamese people, particularly women, who are depicted as sexualised objects in need of rescue by Westerners. In a multicultural country like Australia, perhaps it’s even more essential to retell such stories with utmost respect for the Vietnamese community.
MISS SAIGON AND THE EMPHASIS ON CULTURAL APPRECIATION
One of the main themes of the production focuses on love and war, casting both lead characters Kim and Chris in opposite power dynamics. Chris holds all the power while Kim is portrayed as the vulnerable damsel in distress. This dynamic mirrors the themes found in Oscar Hammerstein II’s “The King and I”, which also explores the relationship between Eastern and Western powers through a love story.
The musical was inspired by a 1975 photograph Miss Saigon composer Claude-Michel Schönberg found – a Vietnamese mother seeing her 11-year-old daughter off at the Tan Son Nhut Air Base. This poignant image is reflected in Kim’s suffering and survival with her son Tam as Saigon transitioned into Ho Chi Minh city.
While we get a glimpse into their struggles via the song “The Movie In My Mind” sung by Gigi Van Tran (a sex worker in the show), the show did not initially condemn or highlight the fact that many of these women entered prostitution to survive. Instead, we see the exaggeration and over-sexualism of Southeast Asia in the women in the Dreamland Bar.
However, it’s important to recognise that these women provided a source of emotional and mental comfort to many American G.I.s, who shared with them about the traumas experienced during the war. This was elaborated on by current touring cast member Nigel Huckle, who plays Chris, on his personal TikTok profile; he explained why he felt that Chris was genuinely in love with Kim.
It also shows how the current international touring cast is pulling out all the stops to ensure that extensive cultural and history research is thoroughly conducted.
PAVING THE WAY FOR ASIAN THEATRE ACTORS
Many might recognise Lea Salonga for her hit roles as Mulan and Princess Jasmine in the Disney animated movies. However, her career was propelled by her 1991 Broadway premiere as Kim in Miss Saigon after performing on the West End. Her outstanding performance earned her the distinction of being the first Asian actress to win a Tony Award. Salonga is regarded as a trailblazer because she opened the door for many Asians in the theatre world.
While casting directors should prioritise Vietnamese people in this role, many of the main characters who are Vietnamese are given to those of Southeast Asian descent, which shows a conscious effort to appropriately cast characters. The current casting ensures that Asians are given a proper stage presence rather than being relegated to the ensemble, which is very common.
Previously, the song sung by the bar girls in “The Wedding Ceremony” was a gibberish mix of Vietnamese-sounding words. But in 2017, Vietnamese cast member Christopher Vo, who was also the show’s Vietnamese language consultant, rewrote the lyrics to actual Vietnamese with the English translation: “Wishing you happiness; Onto a new day”.
This oversight from the original writers allowed Vo to be creative, artistic and to represent his culture accurately to an audience who did not know the language.
REFRAMING STEREOTYPES
While the initial runs of Miss Saigon may have perpetuated gendered stereotypes of Southeast Asian women and their perceived desire for a white saviour to swoop them off their feet, watching the show now makes one think: Was it all intentional? Perhaps this was the very device to make audiences uncomfortable, or at least view the flipside.
Kim’s character storyline is often criticised for being backwards and submissive, but we should consider how strong, mature and independent this young woman truly is. In “This Money’s Yours”, she rejects Chris’ payment for the night spent together and even told him she doesn’t want to talk about herself because it is full of pain and suffering that is not worth speaking about.
Kim also stands her ground firmly in “Coo Coo Princess”, refusing to turn to Thuy because she has chosen to love and commit to Chris, regardless of Thuy’s position of power and authority to ruin or end her and The Engineer’s lives.
Kim’s love for Chris was one of the few choices she made autonomously, rather than from a lack of alternative – which was how she ended up in “Dream Bar”, became a sex worker, losing her family to a war, becoming a dancer again in Bangkok. And even at gunpoint, she did not falter or get afraid of any hardship that could come her way as long as her love for Chris could become visceral again.
Her strength is also magnified in wanting the best for her son, Tam. Kim makes the decision to end her life to give Tam the best opportunities in life, even if it means sacrificing a lifetime of experiencing Chris from afar, or being robbed of the opportunity to see her son grow up into a successful, young man one day.
Kim’s character feels like the personification of the betrayed South Vietnam, who sought the help of the USA but stood on their two feet and survived through the country’s revolution and unification, eventually achieving success. If anything, we should learn to admire and revere the Vietnamese and their strength despite the betrayals. And Adriano’s portrayal of Kim displays this so aptly in her strong vocal and fierce personality that shines out on the stage.
ROOM FOR IMPROVEMENT
While "Miss Saigon" has faced significant criticism for its portrayal of Vietnamese characters and the perpetuation of harmful stereotypes, it also offers opportunities for reflection and growth within the theatre industry. Over the years, productions have made efforts to be more culturally sensitive, and the show continues to evolve in its representation of Asian actors and stories.
Despite its flaws, "Miss Saigon" challenges audiences to confront uncomfortable stereotypes and recognise the strength and resilience of characters like Kim, who embody the spirit of survival and determination.
As the arts continue to push for inclusivity and authenticity, there will undoubtedly always be room for improvement. And thus, provide the space to learn and appreciate the complex narratives that shape our understanding of each other’s history and culture. This ongoing evolution demonstrates that there will always be a place for a musical like “Miss Saigon” today, as it offers valuable lessons for both audiences and arts practitioners.
Image Credits: David Boud, New York Show Tickets, ASU Grummage
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