Q&A with Telly Leung

You're the first non-Caucasian to play the role of Boq. Do you think color blind casting is more prevalent on Broadway, or are there still barriers?

First off, let me take this opportunity to applaud the creative team and producers of Wicked for being at the forefront of non-traditional casting. Because of the fantastic nature of the show (who says that everyone in Oz is Caucasian?), Wicked has always been a show that has always cast non-traditionally and included many minority actors in their companies. Derrick Williams is an African-American Fiyero. Aaron Albano (who is Filipino) is a Boq understudy on the tour. Both the standby and the understudy for Elphaba on Broadway right now are African-American. And now, I am cast as the first Asian-American Boq. It is my hope that other Broadway shows will follow in Wicked's shoes – that every actor regardless of race is seriously considered in the casting process.

I try to stay optimistic with regards to the future of non-traditional casting on Broadway, but there is a double standard that exists for Asian roles in music theatre. It is perfectly acceptable for an actress like Juanita Hall or Lillias White to play Bloody Mary in South Pacific, or for Jonathan Pryce to play the Engineer in Miss Saigon. However, an Asian actor like myself would never be considered for a role in Dreamgirls or Fiddler on the Roof. Shows like King and I, Hairspray, and Showboat deal with issues of race and should be cast race-specifically. Yet, this double standard exists that takes Asian roles away from Asian actors.

What was it that first got you interested in musical theater?

I started doing theatre when I was attending Stuyvesant High School in Manhattan, a specialized high school for math and science. Theatre was an escape from the long days of chemistry and calculus. I had a great teacher there named Vincent Grasso (we all called him Mr. G) who taught me the most valuable lesson of all in theatre – collaboration. He would always say, "Whether you are the star, or the guy sweeping the stage, you are a valuable part of the show." That lesson has stuck with me always and it allows me to truly love and respect what my colleagues and I do – no matter how large or small the role.

How many times have you seen "Wicked" as an audience member?

I've seen WICKED 4 times. I was in attendance on opening night on Broadway (I had very good friends and colleagues who were part of the original company on and off-stage). I saw it once again in NY when my good friend from the FLOWER DRUM SONG tour (Kenway Kua) replaced another FLOWER DRUM SONG alumni (Marcus Choi). I saw the show a third time this last May as a Wicked employee to observe the show and to see Shoshana Bean's and Megan Hilty's performances (the former of whom I am a huge fan and the latter of whom I went to school with at Carnegie Mellon). I saw Wicked a fourth time in Chicago to observe the national touring cast. Each time I saw the show as an audience member, I had a blast!

Were you a fan of the Wizard of Oz growing up?

Like every kid, I, too, fell in love with the Wizard of Oz. I never thought I'd get to actually BE in Oz eight times a week. It's like a childhood fantasy come true!

After seeing someone else perform the role of Boq, what steps have you taken to make sure the role is unique to you, yet kept true to the original character?

From day one of rehearsals, Joe Mantello encouraged all of us to find our own way of telling the story. He did not want us to be carbon copies of what others have done with our roles. As a result, the company as a whole has found OUR way of making every moment our own within the framework of such a technical piece. Because it is a brand new cast of players and we are all working so closely together to find our own way of playing with each other on stage, I truly believe that this production of Wicked is very much unique without sacrificing the truthful intentions of each character. As we learn from Elphaba in Wicked, there is more than one way of telling the story.

How are the audiences reacting to this company?

The city of Chicago has welcomed this sit-down production with open arms. The fans line up at the stage door to meet us after the show and tell us how much they've enjoyed it. Neighboring department stores, like Marshall Fields, have Wicked window displays. The Borders bookstore next door has special displays with the Gregory Maguire book and posters from the musical. There are cabs, busses, and phone booths all over the city with Wicked ads – and there is a huge buzz about the show all over town. In some ways, because the Wizard of Oz was written in Chicago, it's as if Wicked has come full-circle and returned home.

People that have seen the show before, including the creators Winnie Holzman and Stephen Schwartz, have expressed how well our cast is telling the story of "Wicked." This company is a true ensemble and from day one of rehearsals, we wanted to stay true to the emotional intentions of what Stephen and Winnie have written. I believe that the people of Chicago will see a very clear, clean, and crisp production of the show.

The tour was in Chicago for four weeks, and now all of a sudden there is a brand new cast (including many local Chicago actors). Are you getting repeat customers who had seen the tour and have come back to see your company?

This show is a phenomenon and has an enormous fan base. The show appeals to people age eight to eighty – just like the Wizard of Oz does, and there is something for everyone. It would not surprise me if people come see the show and say, "I want to come back and bring my husband / wife / boyfriend / mother / grandfather / best friend / etc. to see the show." The Chicago actors who are involved are also from the rich and thriving local theatre scene in town. They bring with them a local familiarity and fan base as well. Plus, wait till you see Ana Gasteyer in the starring role of Elphaba! It is a performance not to be missed. She is stunning in the role.

Your website mentions that a full length CD of original songs is going to be available this summer. We've heard some of the music that's on the website which is quite different than what a Broadway audience may be used to. Tell us a bit about your inspirations for the music side of your career.

Writing your own songs and singing your own music is a completely fulfilling experience. My first love was NOT music theatre. As a kid in Brooklyn, I grew up listening to pop / hip-hop / r&b / raggae. My first voice teachers were artists like Stevie Wonder, the late Luther Vandross (a huge vocal idol of mine), Mariah Carey, Mary J. Blige, and Whitney Houston. My writing partner, Randy Witherspoon, was my dresser in FLOWER DRUM SONG on Broadway. He has his own studio (MOPPTOPP STUDIOS) – and he was the one that took me under his wing and taught me about the music industry. He believed in my talent, loved my voice, and encouraged me to write my own songs and develop my own style as a recording artist. One thing led to another and we are going to independently release a full-length album of our music under the MOPPTOPP label. We are very proud of our project, and we hope the people out there dig our music. Check out www.mopptopprecords.com for the 411!

At 25 you have quite the resume already with two Broadway credits under your belt. You're working with one famous Stephen right now (Schwartz) but you've spent quite a bit of time working with another (Sondheim). How involved was Sondheim in the rehearsal process of "Pacific Overtures"?

My first association with Stephen Schwartz was actually at Carnegie Mellon, my alma mater. Stephen is also CMU alum and he would often come to do master classes with the undergrads there. He was a great teacher, and was extremely supportive. He continues to be someone who encourages and inspires me to be a better artist.

Being in a Sondheim show on Broadway was a dream come-true, and working with a living legend first hand like Stephen will surely prove to be a shining highlight of my career. Stephen Sondheim was extremely involved in the process for Pacific Overtures. He (and John Weidman) were responsible for bringing Amon Miyamoto's staging of the production in Japan to America. Sondheim and Weidman would attend rehearsals often and were almost always present during tech and previews at Studio 54. Both men continued to give helpful notes to Amon and the actors and even make changes to the book and score. After the show opened, both men have been quoted saying that it was the most satisfying version of Pacific Overture they've ever seen. They loved the production – and would often come back to visit after the show opened – sometimes with pages of constructive notes and sometimes, just to say 'hello.' Pacific Overtures was a labor of love for all involved and I am very proud to have been a part of it.

Most of all, I am proud to be a Sondheim alum. I performed in two all-star events for Sondheim's 75th Birthday (Wall to Wall Sondheim, Children and Art) – and sharing a stage with those actors that I've looked up to all my life (Elaine Stritch, Angela Lansbury, Harvey Evans, Sab Shimono, George Hearn, Patti LuPone, Betty Buckley, Alvin Ing) and knowing that we've all shared the common experience of working with the genius of Sondheim made me feel like I was, in some small way, the newest member of Broadway's most exclusive club.

What are 5 things people don't know about Telly Leung?

(1) I love Jelly-Belly beans and hate melted ice-cream.
(2) I am bi-lingual. At home, I speak Chinese (Cantonese) to my parents.
(3) I love acting, but someday, I hope to either produce or have my own theatre company.
(4) I like to cook.
(5) Boq is not that far from who I am. I am a big dorky goober. A SWEET dork with a lot of heart, but a dorky goober nonetheless.

For more information on Telly, visit www.tellyonline.net. Photo credit: Chris Macke. For more information on Wicked in Chicago, and to purchase tickets, visit http://www.wickedthemusical.com/chicago/