36:I[58016,["/_next/static/chunks/a10b49cc1be72925.js","/_next/static/chunks/b5ea50e123aa84a6.js","/_next/static/chunks/48003610e91209eb.js","/_next/static/chunks/de880ec5a0241b38.js","/_next/static/chunks/81ce7bf5f20dbd5a.js","/_next/static/chunks/49260bad4a6c1c3e.js","/_next/static/chunks/53f751967ccc7d59.js","/_next/static/chunks/15a1b1fbd3cf7d4a.js","/_next/static/chunks/9d18ca3107644c0d.js","/_next/static/chunks/88bed98e5cd5e639.js","/_next/static/chunks/2a1278cba709ea3b.js"],"ProcessEpisodeButton"] 3a:I[56939,["/_next/static/chunks/a10b49cc1be72925.js","/_next/static/chunks/b5ea50e123aa84a6.js","/_next/static/chunks/48003610e91209eb.js","/_next/static/chunks/de880ec5a0241b38.js","/_next/static/chunks/81ce7bf5f20dbd5a.js","/_next/static/chunks/49260bad4a6c1c3e.js","/_next/static/chunks/53f751967ccc7d59.js","/_next/static/chunks/15a1b1fbd3cf7d4a.js","/_next/static/chunks/9d18ca3107644c0d.js","/_next/static/chunks/88bed98e5cd5e639.js","/_next/static/chunks/2a1278cba709ea3b.js"],"EpisodeTranscript"] 2e:["$","svg",null,{"className":"w-4 h-4","fill":"none","stroke":"currentColor","viewBox":"0 0 24 24","children":["$","path",null,{"strokeLinecap":"round","strokeLinejoin":"round","strokeWidth":2,"d":"M8 7V3m8 4V3m-9 8h10M5 21h14a2 2 0 002-2V7a2 2 0 00-2-2H5a2 2 0 00-2 2v12a2 2 0 002 2z"}]}] 2f:["$","time",null,{"dateTime":"2025-08-31T07:00:00.000Z","children":"Sun Aug 31 2025"}] 30:["$","p",null,{"className":"text-base text-foreground/80 leading-relaxed","children":"The mega-musical that inspired the play Face Value had quite a controversy leading up to its Broadway transfer from London."}] 37:T56f,

When a white actor was recently announced to replace Darren Criss in Maybe Happy Ending, it sparked a fresh wave of debate over racial casting on Broadway. For Asian Americans like playwright David Henry Hwang and actor B.D. Wong, it felt like déjà vu, echoing a controversy they had spoken out against more than 30 years ago with Miss Saigon.

That blockbuster musical became the center of a storm back in 1990 when Jonathan Pryce was chosen to reprise his Eurasian character from the London production when it transferred to Broadway. This decision ignited protests, ultimatums, and the first major reckoning with yellowface in American theater. In this episode, we look back at Miss Saigon, the clash between producer Cameron Mackintosh and Actors’ Equity, and how that moment set the stage for Hwang’s satirical play Face Value—and continues to reverberate today.

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Click ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠ for a transcript and list of all resources used. Produced by Patrick Oliver Jones and WINMI Media with Dan Delgado as co-producer. Theme music created by Blake Stadnik.

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Miss Saigon

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