“As an Asian American who grew up in Texas, it’s always refreshing (dare I say “novel”) to see Asian perspectives and representation on the stage. We’re not the “cultural other” in this story. Instead of Asian Americans speaking incomprehensibly, it was the other way around where the white American characters spoke weird broken English to depict their difficulty speaking Vietnamese. There were also many references in the play about living in a white-dominated society that many non-Asians wouldn’t understand. Additionally, it was a welcome change seeing the male romantic lead as an Asian man (Joshua M Erme as Quang) with sex appeal, muscular physique (Gurrrrl, look at that body!), and a masculine profession in the armed forces. This representation is still so important today even in the woke PNW where I know a half-Asian kid who literally expressed that they didn’t want their Asian features. Role models and goals!”
Shows I’ve Seen
“This show has everything: Stellar acting, incredible set design and music, and an outstanding and important message that needs to be heard now more than ever. I hope as many people as possible experience this show. It’s worth every minute.”
BroadwayWorld Seattle
“Pork Filled Productions and SiS Productions are two mighty, tiny companies that attempt such work. Their production of Vietgone is this kind of mighty effort and a huge “win” for our community because they have gifted us with the ability to see this play in person, again. ”
Seattle GayScene / Miryam’s Theatre Musings
Don’t forget the press features about Vietgone!
Seattle Times feature:
“Director Katano homed in on Nguyen and Tang’s shared love of comic books for this new production, using the graphic novel “The Best We Could Do” — another Vietnamese immigration story — as visual inspiration. She also replaced the recorded backing tracks with Yuelan’s live band for the actors to rap over.
“Having a live band ups the cool factor by, like, 85%,” Katano said.”
The International Examiner:
“To prepare to portray Tong, Huynh has been reflecting on the stories her parents told about their childhoods and journey to the U.S. “I think about how hard it can be for my family and family friends to discuss their experiences fleeing Vietnam, and their difficult journeys, fighting to achieve a better life,” she said. “There’s a shared generational trauma of facing and escaping a horrific war, in desperately fighting their whole lives to ensure their survival, in yearning for a home that no longer exists as it did in their childhoods.””
And from the Northwest Asian Weekly:
“1975, the year of the play’s action, was obviously long before either lead actor was born.
“I have our expert dramaturge, Anamaria Guerzon,” said Erme, “to thank for providing much of the historical context for not only the end of the Vietnam War in 1975, but also the real-life version of Quang Nguyen. When the play is dealing with the war, it is definitely treated with the appropriate level of seriousness.”