The musical has been running since 1989, and so there are generations now which recognise different productions: the famous original cast of Lea Salonga, Simon Bowman and Jonathan Pryce - then those who favoured the cast of the West End and Broadway revival from 2014 of Eva Noblezada, Jon Jon Briones and Alistair Brammer.

Serendipity dictated that the first opening aligned with 15 years since the Fall of Saigon, the revival production opened marking the 25th year, and this one fatefully aligns with the 50th year. This production has the subtitle of ‘The Legend Reborn’ and comes with a new motif that has been amended to what most assume to be a phoenix rising into the sky - replacing the original helicopter and the partially hidden female face. A subtle shift, but one that is repeated dramatically and thematically throughout the performance.

Casting wise - like her own character, Kim is plucked out of nowhere just before taking centre stage in Saigon. This is Julianne Pundan’s very first theatrical debut, which is very hard to believe, seeing as she is one of the strongest of the whole production. She was cast at exactly the same as her character at the beginning of the show, and those little details help. She is young, but absolutely made for that role.

Seann Miley Moore - also like his character, has a reputation that precedes him, and his challenge was that his character seems to be the most amended in this rebirth. His signature red jacket has been chucked in favour of a far more wide ranging wardrobe and his script the most tampered with - or maybe they let Seann ad lib to his hearts content. Either way, it works. Far more brash and brassy, just much more proud. He’s had the role now since 2023 and it has definitely become his second skin. Kim is supposed to be the lead as the eponymous character, but the Engineer is certainly the show stealer - and also the glue that holds the story together I think. His character also bends and fights against time and oppression, far more multi-dimensional than the other male leads, Chris, John and Thuy.

Over the years Miss Saigon has been altered and revised, and so a few song changes were to be expected. I can’t not talk about the helicopter scene either. We appear to be seeing less and less of it. You could speculate that its importance in this new version has diminished, but it was frustrating in this performance for that to be translated as the bottom of a Santa Claus sleigh being lowered down to the sound of helicopter blades instead of actually seeing it in full. I know some theatres can’t physically fit it, but 20 years ago, this one used projections which were just as good. As I mentioned - the motif has changed from a helicopter to a phoenix rising into the sky, so it seems like it was an active decision to mute the expensive physical helicopter prop that the show became famous for. Seeing as that scene was a dream flash back, I guess they could have gone further with that imagery and had the sound of the helicopter but wound the fiery phoenix bird into that dramatic dreamscape of barbed wire, barred gates and high fences, and panicked people chaos… Though that may well have led to audience uproar to remove the helicopter entirely.

Sadly I’ve now talked about helicopters too much and there isn’t space or time to go into more detail about the beautiful intricacies of the set design, the excellent 1970s wardrobe, and so very sweet performance of Samantha Reese Camiguing as Tam. The scaries that Mikko Juan brought to the stage, the stoicism of Jack Kane as Chris and Emily Langham as his wife Ellen. The character arc of John from indulger to compassionate advocate for Bui-Doi was also brilliantly played by Dominic Hartley-Harris.

Whether you’ve seen the show a few times or never seen it before, Miss Saigon returning to Oxford after 20 years is a major cultural event, narrating a story that (like Madame Butterfly) hasn’t lost its power and relevancy today. Even though you only see less than a third of a helicopter, it’s one hundred percent worth a watch. The performance got a full house standing ovation when we hit the sudden abrupt ending, and I expect that this isn’t unusual. The phoenix's themes of rebirth and survival and resilience despite the devastation of the Fall of Saigon and devastation of war are as strong as ever. Not to mention the endurance of love…and of course, ambition. Whatever version of the ‘movie in your mind’ you have of the show, this legend really is reborn again.