EditorialThe chandelier in “Phantom” is emblematic of the mega-musicals that emerged in the same period, our critic writes: the “Miss Saigon” helicopter, the “Les Miz” revolve, the absolute commitment to spectacle. (Sara Krulwich/The New York Times)
Editorial“The Mission Council, Saigon, South Vietnam, April 28, 1971,” exhibited at “Richard Avedon: Murals,” a retrospective at The Metropolitan Museum of Art, in Manhattan, Jan. 24, 2023. (Gus Powell/The New York Times)
EditorialCassie Ghaffar and Sandy Nguyen, owners of Saigon Hustle, at their drive-through in Houston, on April 14, 2022.(Annie Mulligan/The New York Times)
EditorialHelen Nguyen, owner of Saigon Social, administers a COVID-19 test at the restaurant on the Lower East Side of Manhattan on Dec. 18, 2021. (Gary He/The New York Times)
EditorialBob Avian, a choreographer, director and producer who was deeply involved in some of the biggest Broadway shows of the last 60 years, in Manhattan, Nov. 8, 2018. (Karsten Moran/The New York Times)
EditorialNew York Times employees in the Saigon bureau in 1965; from left, Peter Grose, Seymour Topping, Nguyen Ngoc Rao and Jack Langguth. (The New York Times)
EditorialBrent Scowcroft, right, briefing President Ford and Henry Kissinger at the White House in Washington, on the evacuation of Americans from Saigon in 1975. (National Archives via The New York Times)