Musical theater is a blend of songs, dialogue, acting, and dance. This art form first appeared in Italy around the 16th-17th centuries and then spread to other countries. Famous theaters worldwide, such as Broadway (USA) and West End (UK), have produced many impressive musicals that have won the hearts of audiences, including "The Black Crook" (1866), "The White Fawn" (1868), "Le Barbe Bleue" (1868), and "Evangeline" (1874).

Vietnamese musicals

In Vietnam, the first musical was "Co Sao" (script and music by Do Nhuan), staged in a classical world style, and premiered in 1965 with over 150 musicians and actors participating.

In 2011, "La Do" (Red Leaves) (by Do Hong Quan) was performed at the Hanoi Opera House. This work was highly praised by experts and audiences as the first new Vietnamese musical in 40 years, composed and staged by local talents.

In recent years, numerous musical projects have emerged, gaining audience attention and support. These include the HOPE project by young director Nguyen Phi Phi Anh with three musicals: "Goc Pho Danh Vong," (Corner of Fame), "Dem He Sau Cuoi," (The Last Summer Night) and "Mong Uoc Khong Xa Voi," (Dreams Not Far Away) which had 35 consecutive performances. "Les Misérables," staged by the Vietnam National Opera and Ballet, based on the work by French novelist Victor Hugo, became a "phenomenon," selling out many performances at the Hanoi Opera House.

In addition to staging foreign-scripted musicals, many local art units have ventured into purely Vietnamese musicals, such as "De Men Phieu Luu Ky" (The Adventures of a Cricket) (Ho Chi Minh City Ballet Symphony Orchestra and Opera), "Tien Nga" (Idecaf Stage), "Hanoi Xua Va Nay," (Hanoi Then and Now) "Toi Doc Bao Sang Nay" (I Read the News This Morning) (Thang Long Music and Dance Theater), "Trai Hoa Vang," (Golden Flowers Camp) "Song," (Wave) and "Bua Tiec Cua Elsa" (Elsa's Feast) (Youth Theater). Most recently, the Hai Phong Song and Dance Ensemble premiered "Bi Vo," a historical musical that received enthusiastic support from audiences and experts.

Localizing and globalizing musical theater

According to Associate Professor, Doctor, and musician Do Hong Quan, musicals excel in using music to convey emotions to the audience effectively.

"In the 1960s, we had purely Vietnamese musicals modeled after international classics, like 'Co Sao.' Gradually, musicals evolved into a form that includes singing, dancing, dialogue, and interaction, with a lighter structure regarding actors, performers, and orchestra. Today, we are both localizing and globalizing musicals, making them more accessible to the audience," said Quan.

He praised the creativity of artists, especially musicians, who are inheriting and developing Vietnamese musical theater.

"We encourage exploring historical and revolutionary themes but also need musical language and artistic forces to fully convey these ideas. This will balance artistic creativity with historical value," Quan emphasized.

Musician Luu Quang Minh believes musicals will thrive in the future. "Compared to other bustling streets in New York (USA), Broadway may not stand out. But once you delve into it, the grand, magnificent theaters with vast spaces, impressive architecture, and sound and lighting will mesmerize you. It’s no wonder Americans call this 'the promised land of musicals.' Once you experience it here, you’ll never forget. Similarly, South Korea has musicals that are performed regularly and have become a must-see. If Vietnam can create shows with unique local features, it could attract tourists and build a cultural industry."

Musician Tran Le Chien suggests exploring new genres like modern musicals and those based on literary plots, ancient stories, and new creations. This diversity brings a fresh breeze to the stage, attracting a wider audience and offering new experiences.

International collaboration with producers, directors, and artists can also create impressive shows, providing a multi-dimensional perspective on musical theater and performances in Vietnam.

However, Chien notes that developing Vietnamese musicals to their full potential will take time and more creativity to guide the public closer to classic world musicals for sustainable growth.

According to Meritorious Artist Cao Ngoc Anh, Deputy Director of the Youth Theater, musical theater actors must be "three-in-one": capable of singing, acting, and dancing. Very few Vietnamese actors meet these requirements, making it challenging to assemble a cast of several dozen for a musical.

Additionally, the lack of local authors, directors, and playwrights who truly understand musicals hinders the development of this art form. Musicals also demand strict standards for music, costumes, lighting, and significant financial investment. Thus, it remains a domain for those truly committed to pioneering it.

Tinh Le