This is the kind of first class work for which the West End is famous. Luminous, enthralling and unforgettable.
There is a great deal to like in this production. Payne’s writing is intriguing and the pace never really flags. It is a good play, just not a brilliant one.
It is difficult to imagine that patrons of this show would not want to see and hear more of Lippa’s work, especially the works showcased here.
Spacey does not play one character; he is Darrow and he observes Darrow. He works within the confines of the stage and smashes the fourth wall.
If anything, this production of Miss Saigon re-establishes Cameron Mackintosh as the greatest producer of musicals ever. He understands his audience, and as a producer and theatre owner, he delivers!
Hands has produced a wonderful, joyful and quite triumphant revival of a piece that is often overlooked and discarded as “old-fashioned”. The life, beauty and pure pleasure that pulses from the stage deserves a long, long run.
This time, once again, Deborah Warner missed the point and all but destroyed everything of value about the theatrical experience.
There is not a person to fault in the cast or ensemble. Davies whips the material into as good a shape as it is ever likely to have. The sense of it, the glistening highlights of pain it produces, will linger long.