Sweden Boublil and Schönberg, Miss Saigon: Soloists of Gothenburg Opera, Gothenburg Opera chorus, Gothenburg Opera Orchestra /Joakim Hallin (conductor). Gothenburg Opera main stage, 27.9.2025. (NS)
The Gothenburg Opera has taken on a new production of Miss Saigon from Folketeatret in Oslo, performing in English with a mixed cast of international and local talent. Director Guy Unsworth shows a great eye for detail, ensuring that the characters are rounded, believable human beings. Kim’s fellow bargirls, for example, are not depicted as rivals but sisters in adversity. They appear genuinely joyful at her love for Chris, and after the fall of Saigon their mutual support is strong – most strikingly when Gigi takes the blame for the shooting of Thuy to give Kim and Tam a chance to escape.
This attention to detail is woven throughout the production. A white balloon given to Chris and Kim in the first act reappears in Bangkok, when Chris gives a balloon to his son Tam – a poignant visual echo. Jean Chan’s costumes are equally thoughtful, subtly reflecting both character and circumstance, while David Woodhead’s versatile sets allow for seamless and elegant transitions that combine with the through-composed score to keep the story flowing. Video projections and lighting are skilfully used to create great impact in epic scenes such as ‘Bui Doi’ and ‘Kim’s Nightmare’, where she relives her abandonment by the evacuating Americans.
Jesper Blomberg (covering for an indisposed Arvid Assarsson) gave a passionate portrayal of John that truly blossomed in Act II. His rendition of ‘Bui Doi’ was gripping and heartfelt, charting his character’s journey from hedonistic soldier to a contrite veteran haunted by the consequences of war. Karin Mårtenson Ghods brought sincerity and emotional depth to Ellen, convincingly torn between compassion for Kim and her own conflicted love for Chris. Natalie Chua (Gigi), Fanny Dan Tomter, Andrea Rymoen and the other ensemble members portraying the bargirls made the scene of Kim and Chris’ ‘wedding’ really magical and sounded beautiful singing in Vietnamese in ‘Dju Vui Vai’.
Alistair So gave a chilling performance as Thuy, stalking Kim with an obsession that parallels Javert’s relentless character in Les Misérables. The blurred line between his personal jealousy and ideological fervour was unsettling, as Thuy cloaks his possessiveness in the rhetoric of blood purity and national shame.
Eu Jin Hwang’s Engineer was one of the highlights of the evening: a superbly larger-than-life creation, his sardonic voice and theatrical flair perfectly capturing the character’s mix of charm, ruthlessness and dark humour. ‘If You Want to Die in Bed’ was a bravura display of his philosophy of survival. His disgust at being forced to work for a domineering female bar owner (vividly portrayed by Natalie Chua) in Bangkok drew big laughs and ‘American Dream’ became a full-blown Broadway showstopper – funny, grotesque and irresistible.
Timothy Garnham brought warmth and lyricism to Chris. His voice soared beautifully in his duets with Kim, and was convincingly youthful and vulnerable in ‘Why, God, Why?’ and ‘This Money’s Yours’. He shaped a flawed but sympathetic character, rather different from Pinkerton in Madama Butterfly. His originally good intentions make Chris’s ultimate betrayal of Kim all the more heartrending.
At the centre of it all was Feline Andersson’s stunning Kim. Her performance combined heartfelt sincerity with vocal brilliance, whether in the tender intimacy of ‘Sun and Moon’ or the searing emotional power of ‘I’d Give My Life for You’. Ms Andersson has built on her already impressive major role debut in Gothenburg Opera’s Wicked (reviewed here), demonstrating a brilliant ability to communicate Kim’s development as a person and her uncompromising love for her son. Her connection with the very young Pontus Bremholm (portraying Kim and Chris’s son Tam) was particularly moving.
This staging of Miss Saigon succeeds both in spectacle and in intimacy, with a real emotional connection to the struggles of a few human beings caught up in war and revolution.
Niklas Smith
Playing until 28 March 2026. For tickets and more information see the Gothenburg Opera website here.