A Quote by Colin Donnell

'Miss Saigon' was my first professional show. It was one of the first regional productions of 'Miss Saigon.' — © Colin Donnell
'Miss Saigon' was my first professional show. It was one of the first regional productions of 'Miss Saigon.'
I was 17 when I auditioned for 'Miss Saigon.' I really grew up doing that show. I pretty much knew, almost a year into 'Miss Saigon,' that I was going to be a performer, that I was going to be singing and acting.
'Miss Saigon' taught me what it means to help carry a big show, and it had some of the most gorgeous songs wrote.
I played more performances of 'Chris' in 'Miss Saigon' than anyone else.
Yes, I was born in London because my dad was closing out the West End version of Miss Saigon' there.
I remember performing one-man reenactments of Miss Saigon' for my grandmother on her fireplace or dancing to Gwen Stefani in our hotel in the Philippines.
I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.
Before the 'Fast & Furious' promo in Manila, I went on a vacation in the Philippines 10 years earlier. I loved it. My 'Miss Saigon' friends showed me around.
In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.
I first became interested in Ho Chi Minh in 1964-1965 while I was stationed at the U.S. Embassy in South Vietnam as a foreign service officer with the Department of State. The government in Saigon was at the point of collapse and the [Lyndon] Johnson administration was preparing to send U.S. combat troops to prevent a communist victory there. I became convinced that the U.S. effort would not succeed because of the lack of conviction in the Saigon government compared to the discipline and sense of self-sacrifice among the Viet Cong.
I miss a lot of things; that's the price one pays for stardom. I miss standing in queues, buying tickets, and watching films first day first show. It isn't the same going to preview theatres or multiplexes and trying to stay incognito.
I was not exposed to a lot of culture. The shows we saw in high school, like 'Phantom of the Opera' and 'Miss Saigon,' were thrilling. But my love affair with theater started with seeing a production of 'Little Shop of Horrors' that my sister was in.
I'm privileged to have had some success, but I've never forgotten what it was like to queue for a half-crown gallery seat for 'Oliver!' which is why I ensure that there are £20 day tickets for 'Miss Saigon' and that the balconies in my theatres are as comfortable as I can possibly make them.
Lord, what if I miss You? What if I miss You? What if I miss You? Oh, I'm so scared! God, what if I miss You? He answered simply, "Joyce, don't worry; if you miss Me, I will find you.
The nice thing about doing a pop opera - in the way that doing, say, 'Miss Saigon' or 'Les Miz' would be - is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of 'Why is this person bursting out into song?' because the whole thing is sung.
Putting is so difficult, so universally vexing, that the best the pros can do is tell us how to miss. 'Miss it on the pro side,' they say, meaning miss it above the hole. I can't even do that consistently. I miss it on the pro side. I miss it on the amateur side. I miss it on both sides of the clown's mouth.
A first novel of astonishing force, craft and beauty, The Headmaster's Wager conjures up a dizzyingly evocative wartime Saigon in the story of Percival Chen, a Chinese schoolmaster in Vietnam. This extraordinary book made me weep. Read it.
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