Ho Chi Minh City’s theaters are experiencing a surprising resurgence in popularity, driven by a new wave of young audiences – Generation Z. What was once a concern for performing arts venues, a dwindling youth presence, is now shifting as students, young professionals, and Gen Z individuals are increasingly seeking out live theatrical experiences, and staying to discuss them afterward. This positive trend, reported on , signals a potential revival for the city’s theater scene.
Meritorious Artist Ca Le Hong commented on the shift, stating, “They and Gen Z actors are taking control of the theater. We need to meet their demands so that the stage can remain vibrant and the performing arts sector can survive, thus paving the way for the development of the cultural industry as outlined by the Government in 2026.” This sentiment underscores the importance of adapting to the preferences of this new demographic to ensure the longevity of Vietnamese performing arts.
For years, theaters have grappled with attracting younger audiences, as the proliferation of digital entertainment options presented a significant challenge. The convenience and accessibility of streaming platforms and online content seemed to overshadow the appeal of a traditional theater visit. However, early has shown a marked change in this pattern. Venues like the Youth Theater, Ho Chi Minh City Small Stage Theater, Thien Dang Theater, and Hong Van Theater are reporting increased attendance from young people, who are not only buying tickets but also actively engaging with the performances and the theatrical community.
This isn’t simply a fleeting curiosity. Young attendees are drawn to the authenticity of live performance, a quality that digital entertainment often struggles to replicate. Tran Minh Anh, a student at the University of Social Sciences and Humanities in Ho Chi Minh City, shared her experience after attending a Cai Luong performance: “I used to think Cai Luong was hard to understand, but after seeing it live, I was surprised by how vibrant the performances were. Every look, every song touched me deeply. I feel this is a very profound art form.” This sentiment highlights a desire for genuine emotional connection and a deeper cultural experience.
Le Tuan Kiet, a young designer, echoed this feeling, stating that attending a play offers a different experience than watching a film or short clip. “I can feel the energy of the actors and the entire audience. It inspires me to think about life.” This underscores the communal aspect of theater, the shared experience that fosters a sense of connection and reflection.
Theaters are responding to this renewed interest by actively fostering dialogue with younger audiences. Many venues are now organizing post-performance discussions, online fan groups, and audience clubs to create spaces for interaction and feedback. The Theoretical and Critical Committee of the Ho Chi Minh City Theater Association launched a “Dialogue Space: Artists and Audience” program in 2025, recognizing the need for a platform where young viewers can share their thoughts and artists can gain valuable insights.
Volkskünstler Tran Ngoc Giau, Chairman of the Ho Chi Minh City Theater Association, emphasized the importance of this engagement: “This is not just a promotional activity, but a significant step forward in professional thinking: involving the audience in the creative process.”
The Hong Hac Theater, under the direction of Viet Linh, has been a pioneer in audience interaction, hosting post-show discussions after performances of plays like “The Devil’s Hour,” “The Third-Class Actor,” and “If I Were Still Alive.” These discussions allow for open conversations about the content, staging, and emotional impact of the productions.
Beyond discussions, the Hong Hac Theater has also experimented with staging performances in cafes, creating a more intimate and accessible environment for young audiences. This approach allows for a more direct connection between performers and viewers, fostering a sense of community and shared experience.
The City Drama Theatre is also planning weekly exchange programs after performances, aiming to gather direct feedback from young audience members. Ha Quoc Cuong, Director of the Ho Chi Minh City Drama Theatre, explained that this feedback is crucial for adapting staging, pacing, and theatrical language to resonate with contemporary audiences.
This responsiveness to the preferences of Gen Z is not merely a matter of attracting ticket sales. it’s about ensuring the continued relevance of Vietnamese theater. As Meritorious Artist My Uyen noted, “We always want young audiences to come to the theater and express their feelings. We find very open suggestions, but these are exactly what help artists reflect on themselves and improve. The stage must not stand still; it must evolve with the new generation of audiences.”
The return of Gen Z to the theater is a welcome sign for the Vietnamese performing arts. It demonstrates that live performance can still thrive in the digital age, provided it remains adaptable, engaging, and responsive to the needs and desires of its audience. This renewed interest isn’t just about filling seats; it’s about fostering a new generation of theatergoers who will shape the future of the art form. As Hoang Hai of the Tran Huu Trang Theater stated, “Spring will bring new impulses to the stage with the sincere suggestions of the Gen Z audience. They have returned to the theater to see plays and Cai Luong, which is an encouraging sign for the stage in 2026.”
