Miss Saigon Icon

Prince Edward Theatre

Old Compton Street W1V 6HS

Miss Saigon

Prince Edward Theatre 3D location mapMap ©Silvermaze Ltd 2008 Prince Edward Theatre photoPhoto ©Tony Reading 2008

Show Details

Preview 3rd May 14
Opens 21st May 14
Closes 27th Feb 16

Show Times

Mon - Sat 7.30 pm
Matinée Thur & Sat 2.30 pm

Length of show - 2hr 50min

Local Info

Top Class restaurants nearby;

Mon Plaisir (French)
21 Monmouth Street
020 7836 7243

Loch Fyne (Fish & Seafood)
2 - 4 Catherine Street
020 7240 4999
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A classic viewing of all the Theatreland play houses by night. The authentic commentary, by Ben Shafik - a player himself - gives an authentic feel to the West End's theatres - and is backed by real music.
Next version will be more upbeat as, suggested, to celebrate Britannia's unbeatable heritage.
(Over 6000 viewings and all good reviews to date).
Let us know what you think.

A note from the author

I took these pictures to show off London theatres as they are seen -most often - by theatre goers, at night.

Thanks to Ben Shafik for his lighthearted and informative commentary and Fionn O'Lochlainn for the original music.

Watch out for the new version with current liveries and the names of the theatres as they appear.



  • Jon Jon Briones - The Engineer
  • Siobhan Dillon - Ellen
  • Hugh Maynard - John
  • Eva Noblezada - Kim
  • Natalie Mendoza -Gigi
  • Chris Peluso - Chris
  • Sangwoong Jo - Thuy

  • Music - Claude-Michel Schonberg
  • Lyrics - Richard Maltby, Jr.
  • Director - Laurence Connor
  • Design - Totie Driver & Matt Kinley
  • Lighting- Bruno Poet
  • Choreography - Bob Avian & Geoffrey Garratt
  • Costume - Andreane Neofitou
  • Sound - Mick Potter
  • Producer - Cameron Mackintosh


Rachelle Ann GoMost write-ups about 'Miss Saigon' are full of boasting record ticket sales and other shows the actors have played. Maybe how many 'likes on Facebook' will follow to get even more of an audience of those who can only like or even laugh if everyone else does.

So what's behind the money and numbers? A new mark on the dusty pages of history? Greatness beyond the glitter in the moneylenders eyes as they calculate the very shekels earned by the Greatness per se. Yet just as Nature is generous, ensuring survival by bearing millions of seeds, so much talent will blossom unpollinated - but not, it would appear, Miss Saigon. It is as much a celebration of the greatness in humanity as it is also the lament in experiencing the lowest.

This is the thing about opera that is hardly encapsulated by the offhand and mundane terms 'musical' or 'show'.

Cameron Macintosh has brought Opera to the English where it has last taken root from Purcells 'semi-opera' introduced in 1670s in the days where singing and acting were discrete skills as was dancing. Hence the inclusion of the spoken word created 'semi'. Singing from start to finish - especially in German and Italian - was shrugged off by the vigorous Brit theatre-goers used to the highest in wit and energy from spoken English.

Miss saigonThe classical music fraternity failed to absolutely purloin the art form of Opera with arbitrary rulings. All last century the audience did not bite on foreign words sung, albeit supremely, by artists who had little sense of being a player and were frequently famously fat and ugly into the bargain. Purist opera all in a foreign language is still barely acceptable (not enough Facebook likes) as such in England although it took over a century of championing 'English Opera' starting with Alfred Bunn's enthusiastic translations into English and in my opinion, starting the first seeds of pop. An early example of the pop breakaway was a one-hour opera called 'Thomas and Sally' which was deemed by the classical musical authorities of the day to have little, if any musical content of merit. Nonetheless it went forward to be instantly and lastingly popular and ripe with drawing-room ditties -a stream of 'favourite airs'.

Miss SaigonBut opera 'serio' has passionate devotees. They come also for the spectacle, the drama, the moral purpose and the warm familiar songs. On a trip to Italy once, everywhere I went the Opera on at the time was – Aida. I loved it more each time I saw it. I saw elephants and massive vocal casts, I was treated to a magnificent son et lumiere in one amphitheatre. No shortage of Spectacle. And where the singers bare their souls while singing beautiful tunes – it's haunting. And yes - I've sung some of the favourite airs in my favourite ever drawing room quite a while ago.

Miss Saigon _ Alistair BrammerMiss Saigon TamsinMiss Saigon Jon Briony

What's different nowadays? Opera has been with us all along in some of the finest songs in modern musicals over the last century. Or should we say some of the finest modern operas? I maintain that Miss Saigon is an opera fair and square. Opera is actually becoming increasingly popular despite popular ratings. The average attendance of the ROH (Royal Opera House) is now 96% which indicates popularity.

I place Cameron Mackintosh as the grandfather and father of a long list of long run classic operas performed in the West End as well as all over the world.  No shortage of Spectacle here either. Do I have to name them? Well why not! Miss Saigon, Les Miserables, Oliver!, My Fair Lady,  the Phantom of the Opera and many others. It's the ones with the spectacle, the drama and don't forget – the moral purpose in the pain and pathos.  Cameron Mackintosh is outstanding at casting because he knows that the moral purpose and the essence of story are brought aboard by the players and the substantial team of theatre lovers.

Miss SaigonNever to be forgotten -we are talking about THEATRE here whatever it's called.  Theatre is more about interaction with the audience then is film or movie.'

©Covent-Garden.co.uk 2017 Updated 17th Mar 2017