We won’t see her because she’s Asian: How Lea Salonga fought to be seen on Broadway

We won t see her because – In the early 1990s, Lea Salonga was already a Tony Award winner for her portrayal of a central character in Miss Saigon, yet she still faced barriers in securing new opportunities. “My agent would send me to auditions, but people would still say, ‘No, we won’t see her because she’s Asian,’ ” Salonga recalled to the BBC. At the time, it was hard to envision someone of her background taking on the iconic roles that had long been dominated by white performers. However, that once-unthinkable situation now feels like a relic of the past, as Asian talent increasingly shapes the landscape of American theater.

A Breaking Point and a Turning Tide

Today, the presence of Asian-led productions and artists is no longer a novelty. Shows like *Shogun* and *Squid Games* have captured major awards, while K-pop groups like BTS and Blackpink dominate music charts. Even on Broadway, Asian actors are no longer confined to niche parts; they’re central to the stories being told. Salonga, who has since become a global icon, is a testament to this shift. Known as a national treasure in the Philippines, she has also lent her voice to two Disney princesses, Jasmine from *Aladdin* and the lead in *Mulan*. But her journey to this stature was anything but straightforward.

“Because the producers of Miss Saigon also produced Les Mis, I received an invitation to join… so I do appreciate that I had advocates in the office… people who were like ‘we gotta get her in,'” Salonga explained.

Her breakthrough role in *Les Misérables* was a result of these connections, allowing her to bypass the usual audition process. At the time, Salonga was the first Asian actress to secure a principal role in a major musical, a milestone that came with both pride and pressure. “When I was cast in it, the show had already been running for five years. January is usually a slow time for casting, so I think the producers felt minimal risk,” she said. “I was the only person of colour in that entire company, so it was like, is this a stunt? Is this trying to prove a point? Let’s see if this is going to work.”

The Weight of Representation

Stepping into Eponine’s shoes, a character typically played by white actors, was a moment of profound significance for Salonga. “It meant that anyone who had their sights on Eponine could play it. Because if I could do it, then [anyone else] could, regardless of ethnic background,” she noted. The stress of this role, she said, was greater than the pressure of Miss Saigon. “I stressed out over Les Mis more than I ever did for Miss Saigon… because with that, it was an Asian actor in an Asian role—there’s really no controversy there. But with Les Mis, it’s like, we’re going to cast this Asian chick in this show—and there’s never been an Asian in this show before.”

The role’s symbolic weight was not lost on her. It was a chance to challenge long-standing stereotypes and prove that Asian performers could thrive in mainstream productions. Yet, the process was far from smooth. Salonga’s casting was an experiment, one that required both courage and support from those in power. “If it works, the reward would be great,” she said, reflecting on the gamble taken by the producers.

A Legacy in Motion

More than three decades later, the legacy of Salonga’s journey is alive in the form of new performers like Nathania Ong. In the current Singapore run of *Les Misérables The Arena Spectacular*, Ong is taking on Eponine—the same role Salonga helped open. “I get to watch [Nathania] playing Eponine… and as I’m sitting in this dressing room getting ready to do the show, it makes me think that [the experiment worked],” Salonga said. “And it’s something I’m very proud to have participated in.”

Ong, 28, who also made history as the first Singaporean to play the role on the West End, grew up idolizing Salonga’s performances. “I think it took a few months [before I was like], ‘I’ve made it. I’ve actually done something with this,'” she admitted. While she credits Salonga as a trailblazer for people of colour, she acknowledges the ongoing struggle for meaningful representation. “The fight for parts as an East Asian is about more than just getting in the room—it’s about being valued for talent alone,” Ong emphasized.

From Stunts to Stories

Salonga’s work sparked a broader conversation about diversity in theater, but the movement has evolved beyond initial breakthroughs. Today, Asian artists are not only breaking into Western narratives but also shaping their own. She pointed to the recent success of the South Korean musical *Maybe Happy Ending* as an example. “Seeing a show like that… winning so many awards… tells me that if something is just so good that it cannot be ignored,” Salonga said.

This shift marks a turning point for the industry, where Asian creators are no longer just filling quotas but defining new standards. Salonga, with her characteristic blend of humility and confidence, sees this as a natural progression. “It’s about more than just being in the spotlight—it’s about creating spaces where others can follow,” she reflected.

Looking Forward, Not Back

For Ong, the role of Eponine represents more than a personal triumph—it’s a validation of the path Salonga laid. “Now it’s time for the next generation of actors… the ones with strength in their knees,” Salonga joked, highlighting the generational transition. Yet, the journey remains complex. While the doors have opened for Asian talent, the question of whether diversity is a priority or a product of merit still lingers. “Sometimes we struggle with the idea: ‘Have we been hired to meet a diversity quota, or are we actually being hired because we’re good at our jobs?'” Ong said, underscoring the need for continued advocacy.

Salonga’s story is a reminder that progress is often built on the shoulders of pioneers. Her willingness to take on roles that were once considered unattainable paved the way for others to follow. As the industry evolves, the challenge shifts from simply being visible to being celebrated for excellence. “The fact that we’re no longer debating whether an Asian actor can take on a leading role is a victory,” Salonga said. “But it’s also a call to action—because the work is just beginning.”

From Miss Saigon to *Maybe Happy Ending*, the arc of Asian representation in Broadway is one of resilience and reinvention. Salonga’s experience, though marked by initial doubts, has become a foundation for future generations. As new artists step into the spotlight, they carry with them the hope that talent, not just identity, will be the defining factor in their success. The Broadway stage, once a place of exclusion, is now a canvas for stories that reflect the world’s diversity—thank, in part, to those who dared to imagine a different future.