Miss Saigon School Edition

Westholme School’s production of Miss Saigon Jr, performed on Saturday 29th November, was a truly memorable evening of theatre. This junior adaptation of Boublil and Schönberg’s epic musical is no small undertaking, with its sweeping score, complex staging, and emotionally charged narrative. Yet under the guidance of a dedicated creative team and the commitment of a large and talented cast, the show was delivered with finesse and passion.

The story, set against the backdrop of the Vietnam War and its aftermath, follows Kim, a young Vietnamese woman who falls in love with Chris, an American GI. Their romance is torn apart by the fall of Saigon, leading to years of separation, sacrifice, and a heartbreaking reunion. The junior version keeps the emotional depth and iconic score of the original, while offering younger performers the chance to explore themes of love, loss, resilience, and hope.

Direction was in the assured hands of Mrs C Roberts-Lyle and Miss R Loudonsack, who brought clarity and cohesion to this ambitious production. With an enormous number of players on stage, their achievement was remarkable: every performer knew their place, moved with confidence, and contributed meaningfully to the storytelling. The balance between intimate character moments and large ensemble sequences was carefully judged, allowing principals to shine while ensuring the chorus remained integral to the drama.

Choreography, by Miss K Barber and Miss R Loudonsack, was consistently impressive. Movement across the production was tight and synchronised, with every performer drilled yet still able to bring individuality to their roles. From the subtle, ritualistic gestures in the Wedding Song to the stylised formations of the Vietnamese army, the choreography carried narrative weight as well as visual impact. The acrobatic sequences added bursts of energy and spectacle, while the smooth, gliding dragon was a highlight, its fluid motion across the stage, and throughout the auditorium, showing both technical precision and creative imagination. A particular standout was the glitz and glamour of The American Dream, where choreography and staging combined to create a dazzling showpiece. The ensemble moved with confidence and flair, their synchronised routines bursting with energy and satire, giving Zac Whitbourn’s Engineer a spectacular platform.

Musical direction by Mr B Holt was another cornerstone of the production. The score of Miss Saigon is notoriously difficult, yet the orchestra played with assurance and artistry, rising magnificently to the challenge. Their sweeping dynamics underscored the drama, while tender lyricism supported the more intimate moments. Harmonies throughout were impressively tight, particularly in ensemble numbers where the balance between voices created a rich, full sound. Soloists were equally well supported, their performances expressive and nuanced, with phrasing and dynamics carefully shaped to match the emotional arc of each song. Numbers such as Bui Doi, Sun and Moon, and The Movie in My Mind were given extra resonance thanks to Mr Holt’s leadership, ensuring that every vocal line was clear and every orchestral texture enhanced the storytelling.

Costumes, designed by Mrs J Ward-Thompson, looked excellent throughout. The military uniforms, both American and Vietnamese, were strikingly detailed, with dress uniforms and fatigues clearly distinguished and well‑fitted, giving the ensemble a disciplined and convincing appearance. The contrast between sharp military attire and the more flamboyant Dreamland costumes heightened the drama of the story. Traditional ladies’ dresses during the wedding scene were particularly beautiful, their colours and fabrics lending elegance and cultural depth to the staging. Every performer looked the part, with costumes carefully chosen to support characterisation and enhance the storytelling.

Scenery, hired from Scenic, provided a striking and versatile backdrop that elevated the production. Among the most memorable elements were the impressive wire gates surrounding the American camp, which gave a sense of scale and authenticity to the military setting. Equally unforgettable was the helicopter hovering mid‑stage, a technical triumph that captured the drama of the fall of Saigon with breathtaking impact. The Dreamland club was vibrant and atmospheric, while transitions between locations were smooth and well‑managed.

Sound was managed by Mr M Bradford as Audio Engineer, with microphones overseen by Mrs J Santiago. Vocals were consistently well‑balanced, allowing soloists to shine while ensuring ensemble harmonies blended seamlessly. Every microphone cue was precise, supporting smooth transitions between dialogue and song. Sound effects were equally well‑timed and on cue, adding atmosphere and dramatic impact without ever overwhelming the performers. From the subtle underscoring of quieter moments to the powerful effects going with the helicopter sequence, the audio design enhanced the storytelling and gave the production gravitas.

Lighting design by Mr G Ward-Thompson added atmosphere and dramatic intensity to every scene. His use of colour was imaginative and purposeful: deep reds dominated the Vietnam army sequences, heightening the sense of danger and conflict, while cooler tones of blues and cyans bathed the lovers in intimacy. The nightclub scenes were lit with darker, shadowy palettes, creating a seedy, claustrophobic mood that perfectly matched the setting. Transitions between lighting states were smooth and well‑timed, supporting the flow of the narrative and ensuring each moment was visually distinct.

Stage management was in the capable hands of Mr J Oracz and Miss A Harfield, who ensured the smooth running of this complex production. With such a large cast and extensive technical demands, their role was vital in keeping the stage crew organised and efficient. Scene changes were executed swiftly and seamlessly, supporting the flow of the narrative without disruption. From managing the impressive wire gates of the American camp to coordinating the helicopter sequence mid‑stage, their oversight guaranteed that every technical element landed on cue.

The ensemble deserves special mention. With so many players on stage, discipline and cohesion were essential, and the chorus rose to the challenge magnificently. Their harmonies were tight, their movement synchronised, and their energy unwavering. Whether portraying soldiers, villagers, nightclub patrons, or refugees, the ensemble gave depth and authenticity to the world of the play. They were not simply background; they were integral to the storytelling, providing atmosphere, scale, and emotional resonance.

Among the principals, performances were consistently strong and memorable. Olivia Ko was fantastic as Kim, her mannerisms and movements capturing the smallest detail of her character. Her vocals were strong, nuanced, shifting between light and dark with depth of emotion. In songs such as The Movie in My Mind and I Still Believe, she delivered heartfelt storytelling, while her duets, particularly Sun and Moon with Chris, were perfectly pitched and emotionally charged. Olivia’s portrayal anchored the production, ensuring Kim’s journey remained at the heart of the show.

Louka Millar was equally superb as Chris, his vocals beautiful, strong, and soft in turn. In Why God Why, he conveyed Chris’s turmoil with heartfelt intensity, while his duets with Olivia shimmered with intimacy and poignancy. His chemistry with her was palpable, every glance and gesture reinforcing the authenticity of their bond.

Zac Whitbourn brought tremendous energy and charisma to The Engineer, combining sharp comic timing with sly physicality. His delivery in The American Dream was both powerful and playful, while earlier numbers such as The Transaction displayed his manipulative charm. Zac’s rapport with the ensemble heightened the spectacle of his big numbers, injecting bursts of satire and energy that kept the production dynamic.

Iris Griffiths gave a commanding performance as John, opening Act Two with a stirring rendition of Bui Doi. Her soaring harmonies and vocal strength carried the emotional weight of the number, while her interactions with Chris conveyed genuine camaraderie. Iris balanced compassion with urgency, ensuring John’s message resonated deeply.

Francesca Iles was thoughtful and assured as Ellen, bringing warmth and sincerity to her role. In Now That I’ve Seen Her, she conveyed Ellen’s inner conflict with poise and emotional honesty. Her chemistry with Louka Millar’s Chris was believable, and her portrayal gave Ellen dignity and humanity, reminding the audience of the wider emotional consequences of the love triangle.

Gracie Smith brought menace to Thuy, her stage presence commanding, and her vocals sharp and forceful. In Thuy’s Arrival and You Will Not Touch Him, she conveyed fury and desperation with intensity, her interactions with Olivia Ko heightening the drama and underscoring the tragic inevitability of their conflict.

Jess Holden as Tam brought touching innocence to the stage, reminding the audience of the human cost at the heart of the story. Her presence in Kim’s arms and during the final reunion carried quiet emotional weight.

The Dreamland girls each shone in their featured roles. Isabella Dunderdale as Gigi combined strong vocals with expressive dance moves, particularly in The Movie in My Mind. Lily Pickup as Mimi brought vibrant energy and sparkle to ensemble numbers. Josephine Eames as Yvette gave stylish elegance to her choreography, while Evie Lawton as Yvonne impressed with crisp, polished movement. Laila Mohamud as Fifi added sass and humour, her playful dance moves ensuring her character stood out while supporting the group dynamic.

Supporting and cameo roles were also well delivered. Emma Charlton brought authority to the Assistant Commissioner, while Willa Barnett gave lively character to the Club Owner. Michael Tierney appeared confidently as Captain Shultz, and Jacob White and Leo Calway added realism as Apartment Officers. Quincy Dakin commanded the stage as the Marine Captain, while Isla Naisbitt and Emily Woodbury contributed poise and precision as Commission Officers.

Altogether, this was a production that balanced intimacy and spectacle, with principals, featured roles, and supporting cast all contributing to a cohesive and emotionally resonant staging of Miss Saigon Jr. The evening was not only a showcase of remarkable performances but also a celebration of teamwork across every department. A heartfelt thank you goes to Westholme School for their hospitality and to Mrs C Roberts‑Lyle for her gracious hospitality throughout the evening. I look forward to many more productions from Westholme School in the future.

 

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