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47 pages 1 hour read

Qui Nguyen

Vietgone

Fiction | Play | Adult | Published in 2015

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Act I, Scenes 0-1Chapter Summaries & Analyses

Act I, Scene 0 Summary

The Playwright, Qui Nguyen, introduces the play to the audience, explaining that all characters are fictitious, despite the main characters’ resemblance to his parents. The Playwright then introduces Quang and Tong, and while both were born and raised in Vietnam, they speak in the play using American lingo and slang. The Playwright also introduces the notion that any American characters in the play will speak in nonsensical phrases of American lingo. Finally, the Playwright tells the audience that this is a play about two people falling in love and that the play will jump between time during and after the Vietnam War.

In 1975, Quang and his best friend, Nhan, begin a road trip on a motorcycle from Fort Chaffee, Arkansas, to Camp Pendleton, California. While Nhan hangs on, Quang drives, rhyming as he speeds down the highway, “Blow ‘Em Up” playing in the background. His rhymes are about returning to Vietnam to fight the Viet Cong. Nhan begs him to stop, pleading that he focus solely on the road. Quang, excited for the trip, tells Nhan to calm down and asks if he wants to return to the refugee camp. Nhan agrees to continue. He asks Quang how the girl he’s dating took his departure, and Quang denies ever having feelings for her, noting that he has a wife and kids in Vietnam. He tells Nhan that it doesn’t matter what anyone thinks of him and that they belong in Vietnam, where they’re heroes and feel valued. He tells Nhan that in the US, they’re nothing and thus need to go home.

Act I, Scene 1 Summary

Four months earlier, in Saigon, South Vietnam, Tong sits at the edge of a bed, talking to Giai. Giai is inconsolable because Tong refuses to marry him. When he says he doesn’t understand, Tong tells him that the thought of being his wife makes her want to “kill” herself. He offers her a good life, saying he has money, a house, and a Japanese motorcycle, but Tong replies that she values her independence. Confused, believing that as a woman, Tong wants to be taken care of and have kids, Giai makes another plea, and Tong finally agrees to think about it. Excited, he resolves to eventually convince her to say yes. He begins kissing her. She doesn’t respond but eventually asks if he wants to have sex. He says yes but begins crying again, this time from happiness.

At a Saigon military station, Quang waits for someone’s arrival at the gates. Nhan meets him there and suggests that they pay for sex workers. Quang refuses, and Nhan admits that he wants one, saying that the Americans always get them and implying that they should too. Quang still refuses, citing the risk of sexually transmitted infections (STIs), and when Nhan asks to borrow money to pay for a sex worker, Quang again refuses. Thu, Quang’s wife, arrives, and when Nhan asks her for money, Quang tells him no and he leaves.

Thu and Quang reunite for the first time in years, but Quang is upset that she didn’t bring their children, Trang and Quyen. She says that they’re with her parents because of rumors that the Viet Cong are close to Saigon. Quang is upset because he wanted to give them his presents, a teething giraffe for four-year-old Trang and a knife for two-year old Quyen. When Thu says that these aren’t appropriate for the children’s ages, Quang tells her that he hasn’t had a chance to know what’s appropriate due to his time away. When Thu again expresses anxiety over the Viet Cong, Quang promises that if Saigon falls, he’ll fly the family out.

Three weeks later, with “White Christmas” playing in the background, the Americans begin pulling out of Saigon as the Viet Cong breach the city. Nhan and Quang run to a helicopter, hoping to get to the USS Midway, off the Vung Tau peninsula. Quang demands that they retrieve his family in Soc Trang, but when they reach their helicopter, it’s full of refugees. Nhan convinces Quang to drop these people off rather than abandon them before circling back for his family.

At Fort Chaffee in Arkansas, Tong sings to the cue of “Gonna Start Again” about being a new refugee in the US. She sings about the death of Vietnam’s dream of democracy and how the refugees spread across the US are the lucky ones. She sings about the feeling of hitting rock bottom and needing to start over, yet she exudes confidence, singing about how she’ll succeed and won’t let anyone mess with her. A soldier named Bobby interrupts her, introducing himself and checking her name off his list. When Tong’s mother, Huong, appears, he checks her name off too. Bobby clearly likes Tong, but Huong warns her about getting close to Bobby and complains that they must share a bunk, expecting America to be nicer. She laments being old and wonders why Tong brought her to the US. Tong reminds her mother that she received only two tickets through her job at the embassy and that her brother, Khue, refused to come.

Khue told Tong that he couldn’t leave Vietnam because he loved his girlfriend, Pham. Tong argued with him, explaining the risk of staying as the Viet Cong closed in. Khue still refused, saying that Pham was the love of his life. He suggested that Tong take their mother, and when Tong told him that she couldn’t lose him or say goodbye, he assured her that they’d see each other again.

On the USS Midway, Quang meets with Captain Chambers and his Translator. Chambers speaks in nonsensical US expressions, making no sense without his Translator’s help. Quang tells Chambers that he must get back to his helicopter to retrieve his family, but Chambers tells Quang through his Translator that he can’t, since his helicopter was pushed off the ship to make room for incoming planes and that Quang must now go to the US. Nhan approaches Quang cautiously, taking the blame for making him come to the ship and leave his family. Quang begins singing to the musical cue of “I’ll Make It Home,” about how, despite their separation, he’ll return to his wife and children. Across the stage, Tong begins singing about the pain of losing her homeland and brother and commits to making the US her homeland. The scenery around Quang changes from the USS Midway to Fort Chaffee, surrounded by protestors with anti-refugee signs. Quang and Tong alternate singing about the struggles of being refugees in the US, each committing to a new future, one in Vietnam, the other in the US.

Act I, Scenes 0-1 Analysis

In Scene 0, Quang sings for the first time as he rides his motorcycle with Nhan. They’re on the way to return to Vietnam, and through music, Quang expresses his desire to return and the extent he’ll go to for Vietnam. For Quang, who is the sole driving force behind the motorcycle journey and planned return to Vietnam, the war isn’t over, not only because his family remains in Vietnam but also because he truly believes in his cause and in the struggle against the Viet Cong:

THEY STOLE MY PEEPS’ FREEDOM
SO I’M COMING TO KILL THEM
CALL ME THEIR ARCH-VILLAIN
CAN’T STOP ME I’M WILLIN’
TO DIE FOR THIS VISION (11).

By singing, Quang expresses his deepest sentiments about returning to Vietnam and the passion that guides him in his decision. Thematically, it introduces and exemplifies Exploring Inner Conflict Through Music, exposing the characters’ inner lives. In this case, Quang demonstrates his opposition to the US withdrawal from Vietnam and his own dedication to his homeland. He feels prepared to return and continue the fight, even without the support of the Americans, believing that the Viet Cong are his enemies and that the conflict isn’t yet over. He feels so strongly that he’s willing to die: In his mind, the war isn’t over yet.

However, another major reason that Quang wants to return to Vietnam is to reunite with his family. He laments his missed opportunity to save them and can’t rest until he finds them and brings them to safety. He refuses to begin a new life in the US because he feels as though his life is across the Pacific with his wife and children. His desire to be with them drives him in his attempt to return to Vietnam and pushes him to create distance between himself and Tong: “Homie, I’m married. I have a wife and kids who are still in Vietnam. It doesn’t matter what anyone thinks—especially just some random girl I met at some camp” (13). Quang’s pain over his separation from his family defines his character throughout the play and is his sole motivator on his journey across the country. Thematically, this introduces and exemplifies The Strength of Familial Love, showing how it influences the characters of Vietgone and how the crisis they face amplifies it. Each of the play’s characters at the refugee camp lives with separation from their families and loved ones and must navigate their new lives with that in mind. Separation from family leads both Tong and Quang into the future, influencing their visions of what comes next. They can’t simply forget the people they still love in Vietnam, whether they choose to go back or move forward without them.

While the pain of losing loved ones is a serious challenge that many of the play’s characters face, another common struggle they all confront is the pressure of assimilation. As refugees in the US, the expectation is that they work to become citizens and begin new lives as Americans. While some, like Tong, look forward to this, others are less excited, struggling to accept the major differences between Vietnamese and American culture and the differences in their expectations of the US and the reality around them. Huong expresses this sentiment: “I know it’s not a hotel. I just thought—well, it’s America. I thought everything would be super nice here in America. That’s sorta what they advertise” (28). She’s the most resistant to assimilating into American culture, hoping to soon return to Vietnam. While this is her main reason for refusing Tong’s help in becoming American, her resistance also stems from her disappointment in the America she encounters. In Vietnam, she’s led to believe that the US is rich, sophisticated, and abundant, but upon arrival, she finds a foreign scene before her in the refugee camp. This is just one of the many thematic examples of The Complexity of the Refugee Experience and how it shapes the characters’ lives. The perception of America formed in Vietnam doesn’t exist for the refugees in the play, and they must find a way to reconcile reality and expectations, reflecting a dissonance in which the lives they lead don’t align with what they envisioned when they left Vietnam.

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By Qui Nguyen