There’s a certain poetic symmetry in watching this conversation unfold.
On one side is Lea Salonga, a multiple award-winning Filipino performer who has shaped decades of musical theatre, especially for Asian performers. A Disney Legend, she is the singing voice behind iconic characters like Princess Jasmine in Aladdin and Fa Mulan in Mulan.
On the other is Nathania Ong, already making her mark on the West End as the first Singaporean to play Eponine in Les Miserables and Eliza Hamilton in the West End staging of Hamilton.
Both have made history in their own ways and are now in Singapore for Les Miserables The Arena Spectacular.
Salonga plays Madame Thenardier, the notoriously unpleasant innkeeper’s wife, while Ong reprises her role as Eponine.
Lea Salonga plays Madame Thenardier, the notoriously unpleasant innkeeper’s wife, while Nathania Ong reprises her role as Eponine. (Photo: Persson Photography/Johan Persson; Matt Crockett)
“Yesterday was the first time you and I had gotten to ever meet each other in person. But the funny thing is, our theatres in London were beside each other. I don’t understand why our paths never crossed,” Salonga said, still slightly amused by the coincidence.
For 27-year-old Ong, the first meeting came with nerves she could not quite contain. Like many of her generation, she grew up watching Salonga long before she imagined sharing the same stage legacy.
“I was so nervous… I was literally shaking when I came to see you,” she laughed. “I still didn’t expect the nerves that I had when I had to sing On My Own knowing that you were in the building, and also with the added pressure of the fact that this is my hometown. I was like, just breathe, everything’s going to be fine.”
Salonga and Ong at the curtain call during the media gala night of Les Miserables The Arena Spectacular at Sands Theatre. (Photo: CNA/Joyee Koo)
Salonga was never just another performer for Ong. She was proof.
“I watched you when I was younger… I saw your face when you sang On My Own. I was like, 'An Asian! What’s going on here?'”
At the time, Ong wasn’t even particularly interested in theatre.
“I was very into pop, R&B… I was not into theatre whatsoever. But the thing is, even if you’re not into theatre, you’re also a literal Disney princess,” she laughed.
“I feel like us Asian performers… we all look up to you so much. You have been such a trailblazer in so many senses.”
In many ways, Ong’s journey is shaped by having someone like Salonga to look up to. But for Salonga, starting out meant navigating a very different landscape entirely.
“There wasn’t a whole lot that I could refer to,” Salonga shared.
Lea Salonga. (Photo: CNA/Lim Li Ting)
This was before streaming, before global fandoms, before representation became part of everyday conversation. “You didn’t have so many faces and voices that looked like your own.”
Instead, inspiration came in fragments. Performers like Rita Moreno, Miyoshi Umeki, Nancy Kwan and Patrick Adiarte offered glimpses of what might be possible, even if those glimpses were few and far between then.
“When I saw Patrick Adiarte in The King And I, and found out that he’s Filipino, I’m like, 'Oh my god, one of us has made it!'”
It was not about seeing someone who looked exactly like you, she explained, but simply knowing that it could be done.
That possibility became reality when she was cast to originate the role of Kim in Miss Saigon in 1989 on the West End, a performance that would later earn her a Tony Award for Best Actress in a Musical when the production moved to Broadway in 1991.
Salonga originated the lead role of Kim in Miss Saigon on the West End and on Broadway. (Photo: Miss Saigon)
Salonga’s journey to becoming Eponine in Les Miserables came with a different kind of weight.
“The thing about On My Own… it’s the song I auditioned for Miss Saigon with,” she said. “So the whole creative team knew I was obsessed with the role. So when I got cast, it felt incredibly special.”
Salonga was first cast as Eponine in the Broadway production of Les Miserables at the Imperial Theatre on Broadway in early 1993. (Photo: Les Miserables)
Salonga was first cast as Eponine in the Broadway production of Les Miserables in early 1993, but stepping into the role also meant stepping into uncharted territory.
“I don’t think a person of colour had ever been cast before… This was going to be like the test run,” she recalled. “I was going to be the guinea pig for this experiment.”
The pressure wasn’t just about delivering a strong performance. It was about proving that it could be done at all, something she felt acutely as she took on the role.
“I put a lot of pressure on myself to make sure that I did the song (On My Own) well.”
And yet, what she created became the very benchmark that Nathania Ong and many others would grow up watching.
Ong didn’t grow up dreaming of theatre.
She started performing from a young age, but musical theatre was not the first thing on her mind. Instead, she found her way there gradually, through singing, and through a rather unexpected skill set.
Nathania Ong. (Photo: Lim Li Ting)
Her first vocal coach was her father.
“If you’re going to sing, you better be really good at it,” she recalled him saying.
She later trained at LaSalle College of the Arts in Singapore before heading to Mountview Academy of Theatre Arts in the UK, a move that would set her on the path to the West End.
Along the way, she picked up another unlikely advantage.
“I was also doing competitive cheerleading… you scream so much that you learn how to support and scream naturally.”
Not your typical theatre training, but clearly effective.
For both women, Eponine is not a role that stays fixed in time, but one that continues to evolve with them.
Nathania Ong as Eponine in Les Miserables The Arena Spectacular at Sands Theatre. (Screenshot: Base Entertainment Asia)
Returning to the character after taking on other roles has deepened Ong’s interpretation, allowing her to bring in new emotional layers shaped by her own growth. “My Eponine grew as I grew,” she said. “Half of me is the character, half of me is me,” a balance she carries into each performance.
For Salonga, the challenge lies in keeping it fresh every night, approaching the role as if it were entirely new. “You think the thoughts and you sing the song. And then you die,” she said, with a matter-of-factness that reflects just how well she knows the character.
Lea Salonga as Eponine, Les Miserables 10th Anniversary Concert at the Royal Albert Hall. (Photo: Les Miserables)
Even decades on, On My Own remains one of their favourite and go-to songs. “Give the people what they want!” they both exclaimed.
And when it comes to getting into the right headspace before stepping on stage, Salonga has her own way of resetting.
“I just listen to BTS’ music all the time. It’s a great way to erase my head,” she said. “But last weekend, they had a Netflix drop. I readjusted my warm-up routine just so I could catch the livestream before stepping on stage.” She laughed. “I have priorities!”
For Ong, the immediate future is already taking shape, with Legally Blonde – The Musical lined up after Les Miserables at the Esplanade Theatre, alongside projects still in the pipeline. For now, her career continues to move across cities and stages, shaped by opportunity as much as ambition.
“I have to travel where work takes me,” she said. That movement, at least for the moment, also brings her a little closer to home. “And my dog will be so happy.”
Lea Salonga and Nathania Ong. (Photo: CNA/Lim Li Ting)
For Salonga, the road ahead looks no less full. Even after decades on stage, she is still drawn to roles that challenge and excite her. “One day, I would like to do Mama Rose in Gypsy, for real,” she said, before adding that she continues to be offered opportunities that feel, in her own words, “terrifying and intimidating”.
She recalls advice from a friend: “If the thought of it terrifies you, it might be worth doing.”
Les Miserables The Arena Spectacular World Tour runs until May 10 at Sands Theatre, Marina Bay Sands. More information here.
Continue reading...
On one side is Lea Salonga, a multiple award-winning Filipino performer who has shaped decades of musical theatre, especially for Asian performers. A Disney Legend, she is the singing voice behind iconic characters like Princess Jasmine in Aladdin and Fa Mulan in Mulan.
On the other is Nathania Ong, already making her mark on the West End as the first Singaporean to play Eponine in Les Miserables and Eliza Hamilton in the West End staging of Hamilton.
Both have made history in their own ways and are now in Singapore for Les Miserables The Arena Spectacular.
Salonga plays Madame Thenardier, the notoriously unpleasant innkeeper’s wife, while Ong reprises her role as Eponine.
Lea Salonga plays Madame Thenardier, the notoriously unpleasant innkeeper’s wife, while Nathania Ong reprises her role as Eponine. (Photo: Persson Photography/Johan Persson; Matt Crockett)
A LONG OVERDUE MEET-UP
“Yesterday was the first time you and I had gotten to ever meet each other in person. But the funny thing is, our theatres in London were beside each other. I don’t understand why our paths never crossed,” Salonga said, still slightly amused by the coincidence.
For 27-year-old Ong, the first meeting came with nerves she could not quite contain. Like many of her generation, she grew up watching Salonga long before she imagined sharing the same stage legacy.
“I was so nervous… I was literally shaking when I came to see you,” she laughed. “I still didn’t expect the nerves that I had when I had to sing On My Own knowing that you were in the building, and also with the added pressure of the fact that this is my hometown. I was like, just breathe, everything’s going to be fine.”
Salonga and Ong at the curtain call during the media gala night of Les Miserables The Arena Spectacular at Sands Theatre. (Photo: CNA/Joyee Koo)
Salonga was never just another performer for Ong. She was proof.
“I watched you when I was younger… I saw your face when you sang On My Own. I was like, 'An Asian! What’s going on here?'”
At the time, Ong wasn’t even particularly interested in theatre.
“I was very into pop, R&B… I was not into theatre whatsoever. But the thing is, even if you’re not into theatre, you’re also a literal Disney princess,” she laughed.
“I feel like us Asian performers… we all look up to you so much. You have been such a trailblazer in so many senses.”
In many ways, Ong’s journey is shaped by having someone like Salonga to look up to. But for Salonga, starting out meant navigating a very different landscape entirely.
BEFORE REPRESENTATION BECAME VISIBLE
“There wasn’t a whole lot that I could refer to,” Salonga shared.
Lea Salonga. (Photo: CNA/Lim Li Ting)
This was before streaming, before global fandoms, before representation became part of everyday conversation. “You didn’t have so many faces and voices that looked like your own.”
Instead, inspiration came in fragments. Performers like Rita Moreno, Miyoshi Umeki, Nancy Kwan and Patrick Adiarte offered glimpses of what might be possible, even if those glimpses were few and far between then.
“When I saw Patrick Adiarte in The King And I, and found out that he’s Filipino, I’m like, 'Oh my god, one of us has made it!'”
It was not about seeing someone who looked exactly like you, she explained, but simply knowing that it could be done.
That possibility became reality when she was cast to originate the role of Kim in Miss Saigon in 1989 on the West End, a performance that would later earn her a Tony Award for Best Actress in a Musical when the production moved to Broadway in 1991.
Salonga originated the lead role of Kim in Miss Saigon on the West End and on Broadway. (Photo: Miss Saigon)
THE PRESSURE OF BEING FIRST
Salonga’s journey to becoming Eponine in Les Miserables came with a different kind of weight.
“The thing about On My Own… it’s the song I auditioned for Miss Saigon with,” she said. “So the whole creative team knew I was obsessed with the role. So when I got cast, it felt incredibly special.”
Salonga was first cast as Eponine in the Broadway production of Les Miserables at the Imperial Theatre on Broadway in early 1993. (Photo: Les Miserables)
Salonga was first cast as Eponine in the Broadway production of Les Miserables in early 1993, but stepping into the role also meant stepping into uncharted territory.
“I don’t think a person of colour had ever been cast before… This was going to be like the test run,” she recalled. “I was going to be the guinea pig for this experiment.”
The pressure wasn’t just about delivering a strong performance. It was about proving that it could be done at all, something she felt acutely as she took on the role.
“I put a lot of pressure on myself to make sure that I did the song (On My Own) well.”
And yet, what she created became the very benchmark that Nathania Ong and many others would grow up watching.
FROM HOMEGROWN BEGINNINGS TO THE WEST END
Ong didn’t grow up dreaming of theatre.
She started performing from a young age, but musical theatre was not the first thing on her mind. Instead, she found her way there gradually, through singing, and through a rather unexpected skill set.
Nathania Ong. (Photo: Lim Li Ting)
Her first vocal coach was her father.
“If you’re going to sing, you better be really good at it,” she recalled him saying.
She later trained at LaSalle College of the Arts in Singapore before heading to Mountview Academy of Theatre Arts in the UK, a move that would set her on the path to the West End.
Along the way, she picked up another unlikely advantage.
“I was also doing competitive cheerleading… you scream so much that you learn how to support and scream naturally.”
Not your typical theatre training, but clearly effective.
WHAT IT MEANS TO PLAY EPONINE
For both women, Eponine is not a role that stays fixed in time, but one that continues to evolve with them.
Nathania Ong as Eponine in Les Miserables The Arena Spectacular at Sands Theatre. (Screenshot: Base Entertainment Asia)
Returning to the character after taking on other roles has deepened Ong’s interpretation, allowing her to bring in new emotional layers shaped by her own growth. “My Eponine grew as I grew,” she said. “Half of me is the character, half of me is me,” a balance she carries into each performance.
For Salonga, the challenge lies in keeping it fresh every night, approaching the role as if it were entirely new. “You think the thoughts and you sing the song. And then you die,” she said, with a matter-of-factness that reflects just how well she knows the character.
Lea Salonga as Eponine, Les Miserables 10th Anniversary Concert at the Royal Albert Hall. (Photo: Les Miserables)
Even decades on, On My Own remains one of their favourite and go-to songs. “Give the people what they want!” they both exclaimed.
And when it comes to getting into the right headspace before stepping on stage, Salonga has her own way of resetting.
“I just listen to BTS’ music all the time. It’s a great way to erase my head,” she said. “But last weekend, they had a Netflix drop. I readjusted my warm-up routine just so I could catch the livestream before stepping on stage.” She laughed. “I have priorities!”
WHAT'S NEXT
For Ong, the immediate future is already taking shape, with Legally Blonde – The Musical lined up after Les Miserables at the Esplanade Theatre, alongside projects still in the pipeline. For now, her career continues to move across cities and stages, shaped by opportunity as much as ambition.
“I have to travel where work takes me,” she said. That movement, at least for the moment, also brings her a little closer to home. “And my dog will be so happy.”
Lea Salonga and Nathania Ong. (Photo: CNA/Lim Li Ting)
For Salonga, the road ahead looks no less full. Even after decades on stage, she is still drawn to roles that challenge and excite her. “One day, I would like to do Mama Rose in Gypsy, for real,” she said, before adding that she continues to be offered opportunities that feel, in her own words, “terrifying and intimidating”.
She recalls advice from a friend: “If the thought of it terrifies you, it might be worth doing.”
Les Miserables The Arena Spectacular World Tour runs until May 10 at Sands Theatre, Marina Bay Sands. More information here.
Continue reading...