Miss Saigon - Production History

Production History

West End

Miss Saigon premiered in the West End at the Theatre Royal, Drury Lane on 20 September 1989 and closed after 4,264 performances on 30 October 1999. The director was Nicholas Hytner with musical staging by Bob Avian and scenic design by John Napier. In December 1994 the London production became the Theatre Royal's (Drury Lane) longest running musical, eclipsing the record set by My Fair Lady.

The original Kim was played by Lea Salonga, who became famous because of this role and won the Laurence Olivier Award and Tony Award. The original Engineer was portrayed by Jonathan Pryce who won a Tony Award for the role.

Broadway

The musical debuted on Broadway at the Broadway Theatre on 11 April 1991 and closed on 28 January 2001 after 4,092 performances. Directed again by Nicholas Hytner with musical staging by Bob Avian, scenic design was by John Napier, costume design was by Andreane Neofitou and Suzy Benzinger and lighting design was by David Hersey. As of September 2011, Miss Saigon is still the 11th longest-running Broadway musical in musical theatre history.

Planned West End revival

The musical is aiming for a revival in the West End for 2013. Auditions for the role of Kim were held from November 19-22, 2012 in Manila, Philippines.

Other productions

Since its opening in London Miss Saigon was produced in many cities around the world including Stuttgart from 2 December 1994 till 19 December 1999 and Toronto, where new theatres were designed specifically to house the show. In the small island community of Bømlo, Norway with only around eleven thousand inhabitants, the show was set up in the outdoor amphitheater by the local musical fellowship and ran from 5 August to 16 August 2009. The local musical fellowship brought in a Bell Helicopter for the show. According to the Miss Saigon Official Site, Miss Saigon has been performed by twenty-seven companies in twenty-five countries and 246 cities, and it has been translated into twelve different languages.

Tours

After the London production closed in 1999 and also following the closure of the Broadway production in 2001 the show in its original London staging embarked on a long tour of the six largest venues in Britain and Ireland stopping off in each city for several months. The tour opened at the Palace Theatre, Manchester and also played in the Birmingham Hippodrome, the Mayflower Theatre Southampton, the Edinburgh Playhouse, the Bristol Hippodrome and The Point Theatre in Dublin. This successful tour drew to a close in 2003 and a brand new production was developed by original producer Cameron Mackintosh on a smaller scale so that the show could be accommodated in smaller theatres. This new tour started in July 2004 and ended in June 2006.

The first US tour started in Chicago, Illinois in October 1992 and was then expected to travel to those cities which could accommodate the large production. The tour also played venues such as the Wang Center in Boston from 14 July to 12 September 1993, the Broward Center for the Performing Arts, Florida in the Spring 1994, and the Kennedy Center, Washington, DC in June 1994. Cameron Mackintosh said: "Corners haven't been cut. They've been added. There are only a dozen theaters in America where we can do this."

A second North American tour was in Summer 2002 – Spring 2005, playing such venues as the New Jersey Performing Arts Center, Newark, New Jersey in November 2003, Raleigh, North Carolina in February 2005, and Gainesville, Florida in November 2003.

Read more about this topic:  Miss Saigon

Famous quotes containing the words production and/or history:

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy; a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
    Umberto Eco (b. 1932)