To an entire generation of theatergoers, America's war in Vietnam is as ancient as any other history, but in "Miss Saigon" the setting is garish, much of the music is driving and harsh, and the things that flow are booze, bar-girls and fear.

Still, both treatments initially work as romance — at least for their heroines. Both Butterfly and Kim go against social convention, hoping their men will be true, but loving the man's image more than his reality. Both Pinkerton and Chris fall short by abandoning their women, then returning to reclaim only their children.

When they realize they have become extraneous, both women commit suicide. But the common plot creates a greater problem in "Miss Saigon" by draining focus from the heroine in a politically correct exercise of collective guilt, and by unacceptably sloppy melodrama.

Act One is the much stronger half of "Miss Saigon." The characters are clear, strong and purposeful. Chris and Kim fall in love just as the city collapses and the Americans pull out. Kim and the Engineer do what they must to survive and escape.

While some in the audience may grow increasingly impatient with such ham-handed plot-wallowing, Kim is left with little to do but oblige the script by killing herself.

As a character, she is much too strong for that. And when credibility is strained too far, the drama suffers.

Director Vanita Rae Smith has assembled an excellent cast, with remarkably talented high school senior Shawna Masuda carrying the weight of the title role. She has an amazingly large voice and competent stage presence, able to project both the character's innocence and her toughness.

Samuel Hesch as Chris is clear and articulate in his lyrics and brings such tenderness to his Act One solo and duet with Kim that we can almost overlook the indecisive turn his character takes in the second act.

The role of the Engineer is refreshingly consistent throughout the show, and Joey Caldarone makes him attractive and playful despite his sleazy and self-serving actions.

Audiences appreciate survivors — especially when they are as charming as Caldarone makes this one.

Keoki Kerr plays John much more successfully in Act One, but loses him in Act Two when the role takes a character swing that undercuts all his earlier motives and makes him incredibly stupid.

Jay Flores is intense and vital as Thuy, and Renee Hartenstein has one good solo in the thankless role of Chris' American wife.

And the helicopter? Designer Tom Giza works enough magic with sound effects, lights, and smoke that we really believe we see one. Musical director Melina Lillios gets excellent sound from the singers and orchestra.