The opening night of Miss Saigon in London in 1989 marked a pivotal moment in theater history, with producer Cameron Mackintosh envisioning British actor Jonathan Pryce as the perfect fit for the Eurasian pimp role on Broadway. Pryce had already made a lasting impression by originating and shaping the character in the London production. Yet, a significant controversy arose that would challenge traditional casting practices and highlight racial sensitivities in theater.

The Casting Controversy

Mackintosh's intention to cast Pryce for the Broadway production seemed straightforward under the American Equity Association (AEA) guidelines, where obtaining permission was typically procedural. However, a faction of Asian AEA members saw this as an opportunity to address broader issues of racial representation. They organized a protest against Pryce's casting, arguing that the role should be filled by an Asian actor, and equated Pryce's involvement to a "yellow-face" performance, a derogatory practice reminiscent of minstrel shows. On August 7, 1990, their efforts culminated in the AEA council's unprecedented decision to deny Pryce the role, igniting a heated debate on racial equity in the arts.

Producer's Response and Decision

Feeling unjustly targeted, Mackintosh responded by canceling the Broadway run of Miss Saigon, despite having over twenty-five million dollars in advance ticket sales. He was concerned that prioritizing perceived "racial privilege" over merit and creative intent would not only disrupt the production but also set a troubling precedent in the theater industry. Mackintosh argued that this action compromised the integrity of artistic decision-making while inadvertently hindering minority progress by framing it as a conflict with creative rights.

Public and Press Reaction

The global response from both the public and media was swift and largely supportive of Mackintosh. Former New York mayor Ed Koch publicly questioned the AEA's decision, suggesting in the New York Post that it amounted to a form of censorship by Actors’ Equity. Letters and phone calls inundated the AEA offices, with many members expressing their discontent and some threatening resignation unless the ban on Pryce was lifted. The pressure led the AEA council to reconsider and eventually reverse their decision, though Mackintosh insisted on complete AEA backing before resuming the production.

Resolution and Revival

After weeks of negotiation, a resolution was reached that allowed Miss Saigon to move forward. On October 7, 1990, Broadway ticket sales resumed, and the production was back on track, concluding what was one of the most fraught controversies in contemporary American theater. This incident not only illuminated the complexities of casting and racial representation in the arts but also set a precedent for future discussions on artistic freedom and diversity.