PERFECTIONIST, PROFESSIONAL AND PATIENT
A Lea Salonga Interview
STAGE
CAREER
PURPOSE BEHIND THE SELECTION
OF ROLES
US ASIANS: Acknowledging
that “I (you) go for parts when my gut tells me to do so, because
there is going to be a purpose in learning that part – If I’m
successful, that’s great. If I’m not, at the very least I’ve
learned more about the process and have more respect for the work”
– what productions (see below) during your theatrical career in
the Philippines provided the greatest opportunity to learn?
| |
Filipino
Theater: Baby, Team Image Entertainment's Grease (Sandy), Into the
Woods (The Witch), Baby,
My Fair Lady (Eliza), The Fantasticks (Luisa), Paper Moon (Addie),
The Bad Seed (Rhoda), The Goodbye Girl,
The Sound of Music (Brigitta), Annie (Annie), The Rose Tattoo, They’re
Playing Our Song (Sonia), Proof,
Fiddler on the Roof, Cat On a Hot Tin Roof and Repertory Philippines/King
and I at the age of 7 (One of the children) |
|
LEA
SALONGA: It's mostly the adult parts that I had a
more active hand in selection. The one show in which this really showed
itself was in "They're Playing Our Song," It was the first time
that I played someone my age, and someone who was in a similar stage of
life: organized career, messy personal life. I won't go into much detail,
but suffice to say, it was a cathartic period of my life.
US ASIANS: In retrospect, what were the long-lasting purpose
and the strategic career things you’ve learned from participating
in trail-blazing roles/productions such as Flower Drum Song/Mei Li, Miss
Saigon/Kim and Les Misérables/Esponine?
| |
Marian Liu Interview on Diversity |
| |
Marian
Liu: After your roles
in ``Mulan'' and ``Flower Drum Song,'' do you feel pigeonholed for
only Asian parts?
Lea
Salonga: I would like
to think that I am not pigeonholed, but with the exception of Eponine
(in ``Les Misérables''), all the roles I have done in the
States have been Asian or half Asian. It's a shame. Friends look
at me and say, `You don't look Asian,' or `You don't look Filipino.'
Well, I am. . . . I can get cast as anyone and anything, provided
that I can sing the stuff and act the type. So it's a little bit
weird for me to find myself just up for Asian roles. Send me out
for what I can do, not just what I look like.
Marian
Liu: How difficult is
it for Asians to break into theater?
Lea
Salonga: In theater, you're a little
further away than in movies or on TV. You can hide stuff. I mean,
I played a French waif in the middle of Paris. My mission was to
be the best I could and make the audience believe I was that person,
and completely not me. I think I did OK. Nobody ever said: ``Who's
that Asian chick in the middle of Paris?''
For more info, click HERE. |
LEA
SALONGA: Miss Saigon was simply the biggest break of
my career, and an opportunity I couldn't afford to miss. It was a once in
a lifetime chance, and I took it. Les Miz was for me to prove (if not to
anyone else, then to myself) that non-traditional casting works, if only
more producers gave it a chance. Flower Drum Song was a show that showcased
a full Asian cast (everyone one stage were Asian, or half-Asian... it
was a bonding experience for us). There was something special about
each of these shows.
US ASIANS: What factors in your late teens-early 20s that
prompted you to being an actress on stage as career – as opposed
to an “after-school hobby?”
LEA SALONGA: It happened at one mass my mother and I were
attending... the priest's homily was simple and straightforward: "Every
one of us was given gifts from God... use your gifts to the best of your
ability." That was that. I knew that from then on, this would be
my calling, my vocation, my life. Not a bad life.
FOCUS
US ASIANS: Recognizing
your thirst to keep growing as a performer, what element(s) are your main
focus at this point in considering which theatrical productions to participate
in?
LEA SALONGA: I take a lot into consideration... the music,
my co-workers, how much fun it's going to be. If it isn't going to be
fun, never mind.
MEMORABLE
OPPORTUNITIES AND PERFORMANCES
US ASIANS: Could
you describe how performing in “Miss Saigon” provided the
opportunity to participate as the singing voice of Jasmine in Disney’s
“Aladdin?”
LEA SALONGA: I was performing in Miss Saigon on Broadway when
I got a note from Aladdin's casting director, Albert Tavares. He said
that he was looking for me, and to call him about this audition for a
new Disney animated film. I called... auditioned... and that was it.
US
ASIANS: Is the opening night of Miss Saigon still
your most memorable night in your theatrical life?
LEA SALONGA: It probably still is... there's nothing like
it. I don't think any other opening or party I've attended quite lived
up to it. I only wish that I was older when it happened; I would have
enjoyed it more.
US ASIANS: In addition to your Les Miserables concert in
London/”Hey Mr. Producer” concert, what were your most memorable
performance(s)?
 |
|
|
|
|
LEA SALONGA: I don't know... can't think of any off the top
of my head. A lot of performances were memorable for whatever reason,
but I can't list them.
US ASIANS: Could you share the experience of playing non-Asians
characters (i.e. Fiddler on the Roof/Jewish, Cat on a Hot Tin Roof, Grease/Sandy,
My Fair Lady/Eliza, etc.) to a Filipino audience – acknowledging
that they are among the hardest to people to please?
LEA SALONGA: It's just like playing any other role. The thing
about a Pinoy crowd is that they're discerning, given that there are so
many other wonderful singers and performers out there. What I do is nothing
special in comparison because we're so many doing this same thing. That's
probably what makes a Pinoy audience difficult to please.
US ASIANS: What are the personal and/or creative reasons
why you would love the opportunity to participate in roles such as Evita’s
Eve Peron, Reno Sweeney in Anything Goes, Elphaba in Wicked and Polly
in Crazy for You?
LEA SALONGA: They
just look like fantastic roles, stuff that would be fun to do. That's
it.
US ASIANS: In addition to proving to many that a non-Asian
character could be played by an Asian/Filipino, why was “Eponine”
a favorite role of yours?
LEA SALONGA: I just fell in love with her story... it's the
tale of unrequited love. Dramatic and romantic. Who wouldn't fall for
that?
US ASIANS: Do you play the roles different because the audience
are not Filipino and because it was performed in the Philippines?
LEA SALONGA: Nope, I play a role as honestly as I can, regardless
of the audience.
US
ASIANS: Could you share more details on your possible
participation in the upcoming East West Players production of Imelda with
Nathan Wong as the music director? (Note: He extends his greetings
and welcomes the opportunity to work with you.)
LEA
SALONGA: I won't be participating in the show...
my reasons are personal. As a child, I've performed for the Marcos family
on numerous occasions for visiting heads of state and for private functions
at the Palace. Because I know the family, I've declined to participate.
I do wish East West Players the very best though. I also have pending
commitments out of the country at the same time.
| |
 |
| |
Purchase
by clicking HERE |
FLOWER
DRUM SONG
US
ASIANS: What was the most poignant experience related
to your participation to David Henry Hwang’s “Flower Drum
Song?”
LEA
SALONGA: Just that it was an all-Asian cast of actors,
singers and dancers; that I was working with David Henry Hwang; and that
I would be singing some of the most beautiful music written for musical
theater.
US ASIANS: You’ve stated that the current edition of
Flower Drum Song tries to address a question that pervades today’s
society – what does it mean to be an American? Do you feel that
audiences successfully received David’s entire message?
LEA SALONGA: We did the best we could. I don't know that we
addressed every single issue, and don't think that we would have been
able to. It's a complicated thing, finding your identity in a new country.
US
ASIANS: Do you feel that the new version of Flower
Drum Song took full advantage of updating and correcting Asian American
stereotypes – despite calling the Chinese Opera house becomes Club
Chop Suey – a dish that was entirely made-up by non-Asians/Americans?
LEA SALONGA: I think David did what he set out to do, as one
who is Asian-American and growing up in this country, and as a playwright.
It's tough though, taking a show that was beloved in its former state,
and taking it and turning it around to mean something different and new.
These are questions that he would probably answer far better than I could.
|
David
Henry Hwang's Thoughts on Flower Drum Song Updating Asian American
Stereotypes |
 |
|
| Lea
and David Henry Hwang |
|
US ASIANS: Do
you feel that your new version of Flower Drum Song was able to update
and correct Asian American stereotypes often perceived within the
general public - despite calling the Chinese Opera house becomes Club
Chop Suey - a dish that was entirely made-up by non-Asians/Americans?
DAVID HENRY HWANG: I
think, at best, a theatre piece can only go so far in updating and
correcting stereotypes. If the audience enjoyed the show and related
to the characters, then we helped advance the status of APAs (Asian
Pacific Americans) by one small step. |
To
read more about David's thoughts about Flower Drum Song, read his
interview by clicking HERE |
US ASIANS: Do you feel that most people appreciated or understood
David Henry Hwang's version of the themes of C.Y. Lee's original novel
- cultural assimilation, the relationship between generations and the
struggle to become authentically American without abandoning traditions.
LEA
SALONGA: I think a lot of people took away a beautiful
show... I don't know how many people in the audience were aware of C.Y.
Lee's book, and how David's version differed from it. David says his version
is more faithful to the spirit of the book compared to the original Broadway
show.
 |
Lea's
Broadway Friends - Liz & Andrea |
US
ASIANS: How do you feel the conflict between an old-world
Chinese girl named Mei-Li and a sexy, completely assimilated woman named
Linda Low is treated in the newest version?
LEA SALONGA: The conflict isn't so much between them per se,
as it is with Ta. He doesn't want to fall for a girl from the old country,
but the girl from America doesn't feel for him the way he feels for her.
US ASIANS: Do you feel that David Henry Hwang’s successfully
captured the themes of C.Y. Lee's original novel - cultural assimilation,
the relationship between generations and the struggle to become authentically
American without abandoning traditions in the new production?
LEA SALONGA: I think David did a pretty good job. It's not
an easy theme to bring to the stage, all the while presenting fabulous
musical numbers as well.
US
ASIANS: You’ve mentioned that "It's (David
Henry Hwang’s ‘Flower Drum Song’) a very important show
for Asians and Asian-Americans, who have the obstacle of assimilation
into this country, where Asians seem to still be considered foreigners."
What do you feel needs to be done to address this situation and what role
does this production in accomplishing the above-listed statement?
LEA SALONGA: I think we all need to look to the experiences
of every immigrant's story of coming to America. There is always that
feeling of being a foreigner in one's own country. It may take a few generations
for assimilation to fully take place.
| 
