'The. Best. Ever,' that was my son Ben's verdict when I asked him to sum up Miss Saigon in just three words as we left the Bristol Hippodrome on opening night, Wednesday, July 22.

I had expected words like spectacular, emotional or stunning.

Instead, he simply smiled and said: "The. Best. Ever."

To be honest, I couldn't argue with him.

Set during the final days of the Vietnam War and its aftermath, Miss Saigon tells the heartbreaking story of Kim, a young Vietnamese woman who falls in love with American GI Chris.

Their lives are torn apart by war, forcing impossible choices, heartbreaking sacrifices and an enduring love that spans continents and years.

It is a story of love, loss, hope and the extraordinary lengths a parent will go to for their child.

There is always something special about an opening night, but from the moment we arrived at the Bristol Hippodrome this felt different.

Music was already playing outside the theatre as audiences gathered, building excitement before we'd even stepped through the doors.

Then, as the lights went down, the production exploded into life.

The audience erupted into spontaneous applause almost immediately. Smoke, dramatic lighting and an incredibly busy opening sequence could easily have felt overwhelming, but instead it was utterly captivating.

From those opening moments, Ben and I were completely immersed.

The staging is nothing short of extraordinary.

The split-level set, designed by Andrew D Edwards, allows scenes to unfold simultaneously, while projections transform the space effortlessly from bustling Saigon streets to intimate moments between characters.

At the centre of the stage, a revolving section enables scene changes so seamlessly that everything flows without ever interrupting the story.

It is one of the slickest productions I have ever seen.

Lighting designer Bruno Poet deserves special praise.

Whether bathing Kim and Chris in the gentle glow of first light during their earliest moments together, using a single red lantern to create intimacy, or filling the stage with fiery reds, smoke and explosions that genuinely made the audience jump, every lighting cue heightened the emotion.

The helicopter sequence, complete with wind effects, dramatic lighting and breathtaking technical effects, was simply astonishing.

The choreography, by Chrissie Cartwright and Carrie-Anne Ingrouille, is equally impressive.

The ensemble move with incredible precision and energy throughout, creating the impression of a company far larger than the cast on stage.

Every movement feels purposeful, helping to create the chaos of war, the energy of Saigon and the emotion of quieter moments.

Their contribution to the production cannot be overstated.

The orchestra deserves equal praise. Under the musical direction of Ben Mark Turner, Claude-Michel Schönberg's magnificent score doesn't simply accompany the story; it becomes part of it, adding layer upon layer of emotion and tension.

At times the vocals overlap beautifully, creating an emotional intensity that pulled us even deeper into the story.

The musicians matched the cast every step of the way and were every bit as important in bringing this remarkable production to life.

Julianne Pundan is simply sensational as Kim.

Making her professional debut in the role, she delivers a performance of astonishing maturity.

Her voice is breathtaking, but it is her acting that truly elevates the performance.

Her portrayal of Kim's quiet dignity, resilience and unwavering love stayed with me long after the curtain fell.

Whether dressed in the innocence of her simple white dress or enduring unimaginable hardship later in the story, she never loses the purity that defines the character.

It is this authenticity that makes every relationship she forms on stage feel completely believable.

Jack Kane is equally convincing as Chris.

His chemistry with Pundan is so completely believable that, at one point,

Ben genuinely leaned over and asked whether they were a couple in real life. There can be no greater compliment to two actors than that.

Seann Miley Moore is an absolute sensation as The Engineer. Every entrance lifts the theatre.

Camp, quirky, mischievous and outrageously funny, they provide perfectly judged moments of comic relief that the audience desperately needs as the story becomes increasingly heartbreaking.

The humour is deliciously cheeky too, with plenty of subtle, blink-and-you'll-miss-it moments that had the audience roaring with laughter.

Owen Johnston also impressed enormously as John, bringing both strength and compassion to the role, while Mikko Juan brought real intensity to Thuy, creating one of the production's most compelling supporting performances.

My first tears came during Emily Langham's beautifully understated performance as Ellen. It was a quietly devastating moment that broke my heart and marked the point where I realised just how emotionally invested I had become.Musically, there were so many highlights, but Sun And Moon was the first moment that truly gave me goosebumps.