47 pages • 1 hour read
Qui NguyenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As Nhan refuels the motorcycle in Flagstaff, Arizona, Redneck Biker confronts them again. He accuses Nhan of messing up his bike and attacks him. Quang appears with food and yells for the man to leave Nhan alone. As Redneck Biker throws a punch, everyone freezes, and the Playwright interjects to say that everything that is about to happen is exactly how Quang Nguyen, in real life, describes it. Quang elegantly dodges the punch, and he and Redneck Biker begin an elaborate martial arts struggle. When Quang finally lands a punch, Redneck Biker calls for backup, and ninjas appear. Quang defeats each ninja before he and Nhan deliver a final blow to Redneck Biker and leave.
Huong prays for Khue’s safety before a makeshift Buddhist temple, and then the scene changes to Saigon two months earlier. Khue enters and finds his mother praying, shocked that she isn’t on the bus to the airport to join Tong. She tells him that she won’t go and will stay with him because Tong should take her fiancé, Giai. Khue tells Huong that Tong isn’t engaged to Giai and that she just said that so that Huong would leave her alone, adding that he and Tong decided that Huong must go, not only because she deserves to for the hard life she has led but also to help Tong in a new country. He commits to staying not only because of his love, Pham, but because he doesn’t have any connections to the South Vietnamese army or the embassy, like Tong does, and will therefore be safe. Later, in Fort Chaffee, Tong is working on her English spelling at a chalkboard when Huong walks up and hugs her, telling her daughter that she isn’t going with Quang and that she’s here for her.
Tong finds Quang working on a motorcycle and tells him about her mother hugging her. She feels confused by the affection, thinking it’s weird, but Quang believes that this kind of affection is normal in families. He tells Tong that he’d hug her too, since he wakes up only because he wants to spend time with her. She suggests that they go out to dinner that night, to a diner she knows, but Quang tells her that he can’t, because he’s fixing the bike so that he and Nhan can ride it to Camp Pendleton in California to catch a plane to Guam. He apologizes, but she tells him not to worry, since he can do what he likes. She shares that she finally received her foster family in El Dorado, Arkansas, and that maybe now she can form new relationships with people who won’t leave her. She leaves and begins singing to the musical cue of “I Don’t Give a Shit” about how she doesn’t need love. She rebukes love and believes that if she can survive the heartbreak of losing her brother, love can’t affect her. Later that day, Bobby invites her to go to the same diner she wanted to go to with Quang. He tells her that he likes her and that it was love at first sight. She responds that she likes him too, and as they kiss, Quang enters, holding flowers. When he sees Tong and Bobby, he throws the flowers out and leaves.
In Oceanside, California, Quang smells the Pacific Ocean and takes joy in being so close to the same ocean that touches Vietnam. Nhan doesn’t share this joy and tells Quang that he only came with him to stop him from going through with his plan. He reminds Quang that he was a captain in the Republic of Vietnam’s Air Force that fought with the Americans and therefore will be wanted upon return. Nhan adds that Quang won’t find his family but will either be shot dead or forced into a lifelong work camp. Quang insists that even if he dies, he’ll know he did everything for his family, but Nhan accuses him of being selfish, saying that his actions will only make himself feel better and bring more pain to his family. He commends Quang for saving the lives of all the people on the helicopter when Saigon fell but notes that when they did so, their lives in Vietnam ended, and they must accept it. Quang finally does, smashing his helmet and yelling.
Three months later, in El Dorado, Arkansas, Bobby waits with a flower on the porch as Tong and Huong return from grocery shopping. Bobby offers to help Huong, but she tells him to leave, lobbing insults at him. He asks Tong to dinner that night, saying he has a reservation and something special for her because he likes her so much. She agrees, and when Bobby leaves, Huong tells her that she doesn’t have to settle for him, adding that Tong needs fire and that though she wants Tong to be with someone, it should be someone better than Bobby. Tong insists that she likes him, but Huong believes she’s going with him solely because she thinks it makes her strong; Huong knows that having passion and a connection with someone is essential. She tells Tong that love gives people strength during hard times.
Much to Tong’s surprise, Quang appears and tells Tong that he and her mother are pen pals. He says that he worked in California to earn enough money to fly back to her and that he wants to take her out to eat. She insists that she’s with Bobby and doesn’t want to be Quang’s second choice after his wife. He tells her that she’s the only thing in the world that makes sense to him and that he feels as though they speak the same language and fully understand each other. He only wants time to convince her not to be with Bobby. Tong tells him that she won’t kiss him, but when he grabs her and kisses her, she relents.
In the present, the Playwright appears to help Tong and Quang transform into his present parents.
The Playwright and Quang sit together at a diner with a microphone and computer. The Playwright asks Quang to say something into the microphone, and Quang tries to get the Playwright to sing with him. The Playwright tries to begin the interview, saying that it’s August 7, 2015, but Quang doesn’t cooperate, instead telling a story about how the Playwright pooped in his hand the first time he tried changing his diaper. Quang wants this anecdote in the play, but the Playwright refuses.
Quang resists answering the Playwright’s questions and instead asks if he interviewed his mother. He tells Quang that he did and finally convinces Quang to answer questions. He learns that Quang first came to the US in 1968 to learn to fly a helicopter rather than in 1975 at the end of the war, as he believed. He asks Quang if he ever fought on the ground, but Quang instead talks about when he grounded the Playwright for shoplifting. The Playwright pushes, saying he wants to write something about his father’s life and the Vietnam War. Quang insists that he wants any story to be about raising the Playwright.
When Quang questions why the war is such a big deal to the Playwright, the Playwright insists that it’s because the government made a mistake and because of it so many Americans died when they didn’t have to. Quang disagrees, telling his son that the war wasn’t political to the Vietnamese, that the Viet Cong tried to destroy them, and that the Americans gave them hope and saved the lives of people like him. He doesn’t want the war to be thought of or remembered as a mistake, because of how real and devastating it was to the Vietnamese people. He tells the Playwright that if he wants to know about Vietnam or the Vietnamese, he’ll tell him, but if he wants to know about war, he needs to rent a movie.
The Playwright looks at his father, clicks the tape recorder off and begins singing. Quang soon joins in, and they sing together.
While much of Quang’s singing deals with his inner turmoil surrounding his family and the contradictory views of the war surrounding him, Tong’s musical expression focuses primarily on how she plans to build a new life. In the US, Tong values her independence, seeing her new home as an opportunity to reinvent herself. This plan hinges on her ability to not become too attached to anyone, learning from the pain of her split from Khue. Although she swears that she’s not falling for Quang, when he leaves, she experiences the pain of loss yet again but rages against it, committing herself to being strong and independent:
I DON’T GIVE A DAMN IF I’M IN YOUR DIARY
I’M NO JULIET WAITING ON NO BALCONY
WANNA BE A ROMEO, THEN YOU SHOULD KNOW ‘BOUT ME
NOT GONNA DRINK NO POISON, WON’T STAB MYSELF FOR THEE (80).
Emphasizing the theme of Exploring Inner Conflict Through Music, the play allows Tong to explore her competing feelings surrounding Quang through song. She’s romantically invested in him but realizes that her independence hinges on being strong through his departure and not playing into the typical stereotypes of lovesick women. She refuses to align herself with Juliet, as someone who will wait for a lover or refuse to put her best interests forward in favor of another. If Quang wants to be a Romeo, he must respect and accept her independence.
Nhan continues his attempts to convince Quang that he can’t return to Vietnam because of the dangers it poses. He argues that Quang’s involvement with the US military makes him a wanted man, and therefore he won’t even make it to his family. Nhan’s argument thematically hinges on The Complexity of the Refugee Experience, as it defines the divide that now stands between many Vietnamese refugees and Vietnam. After the war, Vietnam is a new nation, and because of the new government and politics, many refugees are completely cut off: “You think you’re gonna step off that ship and do what? Just go home? Be with your family? You were the captain of a ten helicopter squadron, a military officer in the Republic of Vietnam’s Air Force that trained here in America” (84). In this statement, Nhan reminds Quang of his experiences and involvement with the Americans and how this makes him a person of interest in Vietnam. He’s at direct odds with his homeland, and his return, though well-intended, won’t be easy or welcomed. Vietnam is a different place now, and Quang’s accepting this reality and realizing that a return isn’t possible is one of the first steps he takes toward beginning a new life in the US.
When Quang finally gives up his mission of returning to Vietnam to be with his family, it stems from his own love and care for them. Nhan continues to argue with him in an effort to dissuade him, and he succeeds in changing Quang’s mind only when he clearly points out that even if Quang can successfully return, it will only cause more pain for his family when he’s inevitably caught, preventing them from moving on with their lives. He convinces Quang that the best course of action for himself and his family is to move on:
We died the moment the VC crossed Newport Bridge into Saigon and you flew us the fuck outta there to save us…Let Thu and your kids mourn you. Let them say their goodbyes. And then let them find some new happiness because it’s not going to be with you (85).
Nhan accepts that their lives in Vietnam are over and convinces Quang that his love for his family doesn’t mean that returning to them is best. Thematically, this shows how The Strength of Familial Love pushes Quang to make the difficult decision to remain in the US and move on with his life. By doing this, he allows his family to move into the future without hanging on to the past. Nhan convinces Quang that his desire to return stems from selfish feelings and duty and that this doesn’t automatically make his plan the ideal course of action. When Quang accepts this, he’s finally ready to begin his life with Tong.
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