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From rejection to revolution: Lea Salonga's journey
In 1991, Tony Award-winning actress Lea Salonga faced repeated rejections in auditions because casting directors dismissed her as "too Asian" for roles. More than three decades later, she watches a new generation of Asian performers claim the same stages she once fought to enter, marking a seismic shift in global entertainment.
The audition that never happened
Salonga's breakthrough role as Éponine in Les Misérables came not through an open call but through a direct invitation from producers who also oversaw Miss Saigon. "I had advocates inside the office who said, 'We have to get her in,'" she told the BBC. At the time, she became the first Asian actress to land a principal part in the long-running musical.
The casting was treated as an experiment. "The show had been running for five years; January is a slow month, so the risk felt minimal," Salonga recalled. "I was the only person of colour in the entire company. People wondered: is this a stunt, or are we proving a point?"
Stress, stakes, and a lasting legacy
The pressure was immense. "I stressed over Les Mis more than I ever did for Miss Saigon," Salonga admitted. "With Miss Saigon, I was an Asian actor in an Asian role-no controversy. But Les Mis? Casting an Asian woman in a traditionally white role felt like a gamble."
Yet the significance was clear. "It meant anyone could play Éponine, regardless of background," she said. Today, that legacy is visible beside her: in Singapore's current Les Misérables: The Arena Spectacular, 28-year-old Nathania Ong portrays Éponine-the same role Salonga pioneered.
"I get to watch Nathania playing Éponine, and it makes me think the experiment worked. I'm proud to have been part of it."
Lea Salonga
A new generation's perspective
Ong, the first Singaporean to play Éponine on London's West End, grew up watching Salonga's performances. "It took months before I realised what a big deal it was to land this role," Ong said. While she calls Salonga a "trailblazer for people of colour," she notes the fight for representation has evolved-not just about getting in the room, but being valued for talent alone.
"Sometimes we wonder: were we hired to meet a diversity quota, or because we're good at our jobs?" Ong said.
Beyond casting: Asian stories taking centre stage
Salonga sees a broader transformation: Asian artists are no longer just fitting into Western narratives but creating their own. She points to the Tony-winning South Korean musical Maybe Happy Ending, which marked Korea's first Tony victory. "If something is undeniably good, it will be seen," she said.
She also highlights the global rise of K-pop acts like BTS, drawing parallels to her own experience. "When you represent your country on a global stage, the pressure is immense. I appreciate BTS because they carry the weight of all of Asia on their shoulders," Salonga said, joking that she once delayed a vocal warm-up to catch their livestream.
From margins to the mainstream
Salonga's current projects reflect this shift. She is working on an upcoming DreamWorks animated film rooted in Philippine folklore-a project she "never thought [she'd] see in [her] lifetime."
Asked if her 18-year-old self would be surprised by these changes, Salonga replied: "Incredibly shocked, but inspired. There is a space for me now. You can push us to the margins, but we'll just centre ourselves."
