A Quote by Isa Briones

Yes, I was born in London because my dad was closing out the West End version of Miss Saigon' there. — © Isa Briones
Yes, I was born in London because my dad was closing out the West End version of Miss Saigon' there.
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' was my first professional show. It was one of the first regional productions of 'Miss Saigon.'
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 grew up in west London, but my dad wouldn't let me go to school there, so I went in south London.
My perspective was: yes, I've worked before in London, but, my God, I've never done a musical in the West End and I see myself as someone who's predominantly known for TV, so can I prove my worth?
My family moved out of London's East End to a tiny village. The school I went to was supposed to be mixed gender, but there were hardly any boys born that year. So, yes, joining a youth theatre was a fun way to meet the opposite sex!
I was raised in Maryland. My mom was born in London, and my dad was born in Chattanooga, Tennessee.
I've never lived in north or west London, so I'd like to come out of my comfort zone for a bit. But Stoke Newington is where my heart is, it's where I'm born and bred.
But to me, Broadway has always had more a 'village' feeling than London's West End. The theaters here are clustered together, the staff and many people in the business know each other - it's like a little village all to itself, whereas in London everything is more spread out.
'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.
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.
I come from West London. I support a football team there called Queens Park Rangers, whom I'd like to give a shout-out to. I'm a die-hard Rangers fan. I think that I would always hopefully have a strong connection to and live in London, because it's a brilliant city.
I miss my friends in London, and I really miss New York. But I also miss the stability of staying in one place and being able to just open a drawer if you've run out of sticky tape and chuck a new roll in the holder.
I played more performances of 'Chris' in 'Miss Saigon' than anyone else.
My mother was actually born in Ohio but raised in West Virginia where her family had a laundry. She has a West Virginian accent. My father was born in China, but he's the son of an American citizen. My paternal grandfather was born in San Francisco in 1867.
What do you miss about being alive?" The sound of my mom singing, a little off-key. The way my dad went to all my swim meets and I could hear his whistle when my head was underwater, even if he did yell at me afterward for not trying harder. I miss going to the library. I miss the smell of clothes fresh out of the dryer. I miss diving off the highest board and nailing the landing. I miss waffles" - p. 272.
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