“Saigon” is a work absolutely great, beautiful and delicate. It is great because it has a life and does so with such a load of simplicity, truth and a deep realism that keeps the viewer all the time with the heart overflowing. It is a story predictable, but that fragmentary way of crossing times and spaces, people and the ghosts of those people make a montage simply absorbing and poignant. There is ambition and control of that ambition. Here is calla, as much as it has because this is the story of the silences, the secrets, stories and feelings so deep that they can’t even be verbalized. Caroline Guiela Nguyen has written and directed a play called to stay on the shelf for what is memorable and what is necessary because it not only speaks of the wounds of history ( especially French), but also of how these wounds bleed into our skin and into the heartbeat of our existence.
The scenery has the vitality of Richard Estes and the melancholy of Edward Hopper. The restaurant of hyper-realism that is built is a cheap restaurant both in Saigon in 1956 as Paris in 1996. And he developed all these stories of lost loves, of maternity rotas and absences unbearable. The story that tells us the teen Lam has the same poetry to which we are accustomed Marguerite Duras when he spoke of the decolonization of French Indochina. The impossible love of Linh and Edouard, Hào, Mai and Cécile, the tragedy silent of Marie-Antoinette ‘s taking almost two decades to learn about the death of his son through political strife, wars, the effects of economic embargoes that lived in this region of the planet and France during the TWENTIETH century. But above all, raise a story coral on hope and nostalgia, the impossibility of recovering that which is lived and the precarious possibility of reinventing for the emigrants.
This meeting destinations, this crossroads of absences is also a crossroads and a crossroads of interpretations and languages. As Jöel Pommerat, Caroline Guiela Nguyen creates the text “Saigon” with the participation and the experience of the actors and makes him live the French, the vietnamese and the English as an example of a world mestizo in the linguistic and the social. All with the phrasing of a music that is in the works, the prominent role of the beauty and the excitement , because every life is that sad song that is sung in the microphone on the small stage that has the restaurant.
“This is how you tell the stories in Vietnam, with many tears,” at the end of the work. Tears to see this wonder converted into a theatre.Translated from ABC News https://www.abc.es/cultura/teatros/abci-saigon-fascinante-mirada-historia-201901140136_noticia.html