The Practical Details
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Stage Door
Full guide →When to go. Head straight out at curtain call. Two-show days are the worst bet at both performances — the cast rests through the matinee and is spent by the evening. A Sunday matinee is the best single bet, because it is a one-show day. In bad weather the barricades sometimes never go up at all.
Who comes out. Anywhere from nobody to most of the cast. Nobody can tell you in advance which three — not us, not the theatre. Treat any list that claims otherwise with suspicion.
What to bring. Tonight’s Playbill and a fine-tip Sharpie, held open to the page you want signed. Ask before you photograph anyone, and keep the pavement clear — it is a working door, not a red carpet.
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The Lowdown
Pull up a chair, the kitchen is open. Saigon, from French-Vietnamese director Caroline Guiela Nguyen, is set in a bustling restaurant that exists in two places at once: 1950s Vietnam and 1990s France. Strangers come in to eat, drink, sing, argue, remember and mourn, and over the course of the night their stories braid together across decades and continents.
It's a big, warm-hearted piece of theater about exile, homesickness and the people who carry a lost home around with them. Expect karaoke-sized feelings, family fights over the dinner table and at least one moment that has you texting your mom on the way out.
The production plays St. Ann's Warehouse in DUMBO for a short three-week stand, December 3 to 20, 2026, presented in association with L'Alliance New York's Crossing the Line Festival. It runs about 3 hours and 20 minutes with an intermission, and it's performed in French and Vietnamese with captions. So eat before, or better yet, plan a pho run after.
Three weeks goes fast in Brooklyn. Grab seats early.
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Our full verdict on Saigon is coming soon. Reader lottery reports below have the on-the-ground intel in the meantime.
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