THE acclaimed "Miss Saigon" is, thanks to Lea Salonga's legendary owning of the titular role, the one example of the musical genre that is probably the most familiar to Filipinos, although the vast majority likely only know it by name and association with their celebrated compatriot. That mildly benign jingoism adds another interesting layer to what is already a profoundly meaningful tragedy; more than most other works, the way it is played in different places is a key part of whether or not it conveys its underlying message and how that message may be understood.
That is a difficult challenge to accomplish successfully, as the Cameron Mackintosh production of "Miss Saigon," playing now at the Theatre at Solaire, demonstrated in its performance this past Saturday night.
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