In high school, I became interested in the Vietnam War--American failures, American atrocities. I wrote a paper on the Kent State Massacre and listened to the soundtrack from "Miss Saigon." There is Kim, singing about Bob Kerrey:
Do you want one more tale of a Vietnam girl?
Want to know how I'm bound to a man I don't love?
Do you want to be told how my village was burned?
Want to hear how my family was blasted away?
How I ran from the rice fields and saw them in flames?
How my parents were bodies whose faces were gone...
This is unusual material for a Broadway show. Like Frank Rich, I think that the European mega-musicals are a mixed bag--and that "Miss Saigon" is the best of the bunch.
This structurally bizarre spectacle establishes a bond between Kim and a white GI--but then flashes forward by three years. The GI has abandoned Kim (and a small child, a son). Kim has been hiding from her cousin, Thuy, who wants an arranged marriage. In the show's strange tentpole number, Thuy realizes that Kim is a mother; he quickly decides to murder the little boy (because he, Thuy, is a cartoonish villain). Given an impossible situation, Kim shoots and kills Thuy.
The Earth moves where I stand--
I feel the turning of a wheel--
I feel *nothing* in my hand...
You will not take my child.
What makes this so thrilling is that it occurs in the middle of a Communist street parade. Terrified peasants sing of their "love" for Ho Chi Minh:
One man to heed us--
Each girl, each boy--
One voice to lead us
In a song of joy.
This is the hour.
This is our land!
The writers are "turning the screw." There is nowhere Kim can go. Her story will not improve from here. The melodrama of the streets--the pounding of drums--is a nice complement for the turmoil that we can see written on Kim's face.
It's hard to beat this number.
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