Miss Saigon

Of Broadway's musical mega-blockbusters, two of the longest running -- Les Miserables and Miss Saigon -- share several things in common: poignant, heart-wrenching stories, gorgeous melodies, multi-million dollar budgets, awe-inspiring spectacle, numerous awards, Tony nominations and awards galore, and an executive producer who believes every performance should be a repeat of opening night. Miss Saigon, in its fourth year at the Broadway Theater, is the new "kid" on the block. Another world-wide hit by Boublil and Schonberg and American Richard Maltby Jr.,Miss Saigon is loosely based on Madame Butterfly and set in 70s Vietnam against the pullout of U.S. troops. Nominated for a 1991 Tony as Best Musical, it tells the impossible love story of a Marine and a young bar girl. Looming over them is an Eurasian pimp called the Engineer for his ability to make things happen (if cash is involved). He schemes to get to the States as Kim attempts to locate her "husband" Chris, the father of their son.

Luoyong Wang, born and raised in the People's Republic of China brings gritty vitality to the Engineer, especially his blistering number "The American Dream." Joan Almedilla from the Philippines and Eric Kunze as Chris ignite sparks as the lovers. Their duet on "The Last Night of the World" is memorable as are their solo turns (him on "Why, God, Why?"; her on "I'd Give My Life For You," which she sings at a pivotal moment to their child). The spectacle here, too, is on a huge scale: Bangkok's sleazy Playland district, parading soldiers in front of a 20-foot, 800-pound statue of Ho Chi Minh, a sleek finned Cadillac that floats above the stage, and, oh yes, that whirling helicopter (which you must have heard about). However, spectacle is not the vital ingredient that has brought Les Miserables and Miss Saigon their longevity. It's not their grand scale but their heart. These shows are not musical fluff, but intense personal dramas. Keeping all that the original directors (John Caird and Trevor Nunn; Nicholas Hytner, respectively) created fresh and ship-shape is the job of the stage managers, supervised by Richard Jay Alexander, an executive producer of both musicals and director of Cameron Macintosh Inc., New York, producer of the shows.

Les Miserables and Miss Saigon have poignant stories and exquisite scores," said Alexander. "Our job is to beautifully maintain them to capture at each performance today the same excitement of their opening nights. Eight times a week audiences are incredibly moved by the written and technical magic, which results in good word of mouth. That's advertising money can't buy!"

They must be doing something very right, for after all these years audiences keep coming. That creates record-breaking shows. The scores of these smash musicals can be enjoyed again and again at home on the original cast albums from Geffen Records.