The Hamilton Spectator Review

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The Sins of Our Fathers

Throughout the two years I’ve spent working on this piece, many people have asked me the same question after seeing the show in its present and past incarnations. This question has been asked in varying ways but the center has always been the same, “Was this based on reality?”

Well, I write what I know. So yes, for the most part. It’s somewhat awkward to answer this question in person since I’ve just put my bare life on stage for anyone to see.

Personally, this project was about me not being able to understand the rest of my family. I was the only one born in Canada, the first born generation. We never really saw eye to eye.

There have been nights where I racked my brain on how to fit in. How to respect my elders. How to just be normal.

But I can’t be.

What my father has instilled into me, I will be affected by for the rest of my life. And if I have children, will they be affected by what has been done to me?

I don’t know. It’s definitely gotten better with age though. My father and I get along with a certain understanding that only children with strict parents can grasp. I know he cares for me and that’s all I could really ask from him.

Sylvia Vuong

Ontario Arts Review

This is going to be one of the more memorable and impacting presentations of the Festival. Written by Sylvia Vuong & exquisitely directed by Jeff Yung, there is such a strong sense of reality that simply reeks of the familiar experiences of both. Kept thinking of the intrinsic message of ‘Fiddler’ and Tevye’s having to deal with eroding of traditions. Tuan, his wife Trang, and their daughters must make the transition from the pre-Viet Cong ‘Nam, to Canada. All 5 cast members are detailed and real in their multiple roles. There are instances that so perfectly underline what every immigrant family must experience that it viscerally will affect audiences, The Canadian-born daughter, played by Jasmine Chen, is outstanding and methinks a definite contender to follow her role-mother’s (Danielle Ayow) footsteps to the Theatre Erindale programme. Do not miss this impressive submission.   

Danny Gaisin

Opening in Two Days

Poster Design: Felix Lau

I’m freaking out. The opening is in two days and I’m freaking out. I’m freaking out and I’m not even going to be on stage. I can’t imagine what amount of stress the others are going through. I actually got the chance to drop into a couple of rehearsals in the past week. I didn’t know what to expect when I walked in for the first time but what I did get was complete and total professionalism.

Our stage manager, Sarah, is completely on the ball. She’s so on the ball, she created the ball. No, she created the material and machine in which the ball was created from. She scares me. Just like Nina Lee Aquino scares me.

Our director, Jeff, who I was expecting to be in shambles over my writing since I’m the worst with writing in intentions or stage directions, was incredibly composed.

Our actors, lovely. I think the worst thing I could do at this point was change anything on them but…being me…there were some words that just popped out during the first run. I wanted to cut them. It’s hard, however, to ask an actor to change anything with their lines this late in the game. They accepted.

A few more runs down the road, I did another bad thing. I asked to cut…just a little bit more. Just a little bit, I swear! (I’m a jerk.) They still accepted.

And I think this is why I love this collective. We accept and nurture each other.

Sylvia Vuong