VIETGONE – Sensory Audience Guide Content
VIETGONE is an intense show from a sensory perspective. Emotionally intense moments include racism, physical violence, PTSD nightmares of war, permanent separation from family members because of war and other difficult topics. Production elements include projection screens on the top half of the set, and the entire set used for spiraling and scrolling lighting effects. Because these emotionally and visually intense elements are woven throughout the entirety of the show, it is not possible to create a fully “sensory sensitive” experience from a production standpoint. Audience members who are sensitive to emotionally intense themes and moving visual imagery should consider, based on the audience guide below, if this is an appropriate show for their unique sensory needs.
Environmental Considerations for VIETGONE
- The performance takes place in the Theatre Off Jackson. It is a smaller theater, seating about 140 patrons. The ceiling is low and all seats are close to the stage.
- There are two aisles in the theatre, both of which are used by performers for entrances and exits during the show.
- The show is approximately 2 hours, 30 minutes in duration. The first act is 1 hour, 10 minutes, there is a 15 minute intermission, and the second act is also 1 hour, 10 minutes.
- Part of the sound system is located under the seats in the right section as you are facing the stage. This causes intermittent rumbling sensations under those seats.
Show Content Considerations for VIETGONE
- This show is very emotionally intense including PTSD nightmares of war, physical fighting from both male and female characters, racism, swearing and sexual situations. As such, it is rated PG-14.
- The show is also very visually intense. The top part of the set features screens used for rear projections, and the entire set is used for spiraling and scrolling lighting effects.
- The lobby is available as a quieter space with reduced lighting if patrons wish to take a break from the intensity of the show.
- This show has live music and loud sound effects. Noise reducing headphones are recommended for patrons who are sensitive to sound.
- The show is non-linear. Different scenes take place at different points in time, moving from present time in the main plot, to moments that occurred weeks or months earlier, then back to present time. Projections on the set help in understanding where the scene is located in time. These projections state the location of the scene and where it takes place in relation to the main timeline of the show.
In the following guide, the performance is divided by scenes that contain moments of heightened sensory intensity.
Key to Symbols
| Scenes | Sensory Category | Heightened Sensory Moments |
| ACT I | ||
| July 1975 | 
|
– Moving projections on set
– Loud rapping, motorcycle sound effects
|
| Saigon, 4 months earlier
|
|
– Giai cries |
| Saigon Military Station, 3 weeks later |  
|
– Loud explosion sound effects, flashing lights, comic word projections, yelling
– Saigon is falling, Quang must leave his family behind |
| Fort Chaffee, Arkansas |
|
– Scrolling lights on the set
– Tong raps about the pain of leaving her life behind – Flashback to Khue refusing to come with Tong and their painful goodbye |
| USS Midway |
|
– Quang is told he can’t return for his family
– Quang punches Nhan – Circular projections during Quang/Tong’s song – The song is about the loss both feel as they try to make America home |
| Fort Chaffee | |
– Racist signs outside the refugee camp |
| Oklahoma City
|
|
– Loud music and motorcycle sounds
– A racist biker tries to run Quang and Nhan off of their motorcycle – Videogame sound effects
|
| Amarillo, Texas |
|
– Green projections of plants spiral and multiply, moving rapidly on the set
– Quang wants his memories erased
|
| Fort Chaffee |
|
– A dream sequence. Tong thinks Giai followed her
– Blood appears on his shirt as if he had been shot and actors crawl across the floor as Giai proclaims that they are all dead. – Khue asks why Tong left him behind as blood drips from his mouth – Eerie music plays |
| ACT II | ||
| Amarillo, Texas |
|
– Quang raps about his anger and sadness over losing his family and country
– Blue and white projections scroll across the set
|
| Fort Chaffee |
|
– Quang and Tong engage in acts of sexual intimacy
– Quang and Tong reenact scenes from familiar movies to prerecorded music |
| Flagstaff, Arizona |
|
– The racist biker finds Quang and Nhan at a gas station
– Stage lights blink and yellow suns spin on the projections – Rock music plays in the background with other sound effects – Quang, Nhan, the biker, and ninjas engage in humorous stage combat – The biker draws a gun, which does not shoot – Some of the ninjas play electric instruments |
| Fort Chaffee/Saigon 2 months earlier/Fort Chaffee |
|
– Khue and Huong say goodbye to each other
– Tong is very hurt that Quang is leaving – As Tong raps, dots and hearts scroll on the set behind her |
| Oceanside, California |
|
– Nhan points out the hard truth of what will happen if Quang goes back to Vietnam. The two of them yell at each other.
– Quang realizes that he really can’t go back to Vietnam and be with his family. Overwrought with sadness and anger, Quang breaks the motorcycle, slams his seabag, screams in anguish and sobs. |
| El Dorado, Arkansas | |
– Blue digital waves stream across the set
– Fireworks explode on the set behind Quang and Tong after they kiss |
| Time speeds by |
|
– Years flash on the projection screens, the band plays songs from various decades. |
| 2015 | |
– An elderly Quang admonishes his son for saying the Vietnam war was a mistake and shares his point of view |
Productions is offering closed captioning for four performances of Vietgone by Qui Nguyen (author of Raya and the Last Dragon presented in association with and at the Theatre Off Jackson (409 7th Ave. S., Seattle, WA).
Qui Nguyen, playwright, (he/him) is a screenwriter, director, playwright, and Co-Founder of the OBIE-winning Vampire Cowboys. He and his work, known for its use of pop-culture, stage violence, puppetry, and multimedia, has been called “Culturally Savvy Comedy”, “Tour de Force Theatre”, and “Infectious Fun” by the NY Times, TimeOut, and Variety.
Mimi Katano, director(she/her)is a director, choreographer, and an occasional actor in Seattle and the Executive Artistic Director of Youth Theatre Northwest. Mimi’s directing credits include; Centerstage Theatre, Pork Filled Productions, Live Girls! Theatre, 14/48 Projects, and Boston’s Wheelock Family Theatre. Aside from directing, Mimi has done cultural consulting for Seattle Children’s Museum and Book-It Repertory Theatre. Mimi co-wrote a play on Japanese-American incarceration, Justice at War, which was produced at The Courtier Theatre in Kansas City in 2023, and has been performing on tour by Boston’s Theatre Espresso for nearly 30 years. Mimi’s passion is to bridge her native country of Japan and the U.S. through theatre and has brought theatre artists to and from Japan and has cultivated internship opportunities for Japanese college students. 
