The times are-a-changin'. Whether it be big-budget Hollywood productions, theater, television shows, or commercials, the Asian-American presence is more frequent than ever.

While there have been and always will be issues concerning racism, stereotyping, and insincerity, it is nonetheless an exciting time for Asian Americans already in show business and an encouraging trend for those thinking about giving it a shot. AIA Magazine recently sat down with five New York city based professionals from different levels of stage and screen to discuss their craft, approach, and perspective towards the current state of Asian American actors.

Pun Bandhu (producer/actor) is known most recently for producing hit musical Spring Awakening. Some of his screen credits include roles in shows Law and Order, SVU, One Life to Live; and films Michael Clayton and Burn After Reading.

Lloyd Suh (playwright/actor) has authored plays including American Hwangap, Masha No Home, and The Garden Variety. As an actor he has had principal roles in feature films Year of the Fish and Dark Matter. Lloyd currently serves as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab.

Angela Lin (actress) made her Broadway debut last year in Coram Boy. She has been in New York City five years keeping busy with theater, film, TV, and print work. Her website is http://www.angelalin.net/

Telly Leung (actor) just finished closing the latest Broadway production of RENT. Other stage credits include Flower Drum Song, Wicked, Sweeney Todd, and Miss Saigon. His website is http://www.tellyonline.net/

Makalina (talent manager) started out as an actress but now heads her own talent agency; Asian Pacific File. She has been helping Asian performers find their way in the business since 2004. You can visit her website at http://www.makalina.com/

Has the road up been a difficult one? And how has being Asian helped and/or hindered your journey?

Pun: It's been very difficult. This is a difficult industry, where talent alone is not always enough. Being Asian can be an obstacle because there are fewer roles that are available to us and because the industry is still hampered by stereotypes. I have received feedback from casting directors that I don't look "Asian" enough, even though I am not mixed race. On the other hand, I hear from my Caucasian actor friends that it's very difficult for them to stand out in an over-crowded field. Because there are fewer Asian actors with training and good credits, it is easier for us to get seen when they are casting specifically for an Asian role. I think it's interesting to note that many of the higher profile roles I have received were not originally written for an Asian character. Color-blind casting is happening, which is heartening, but it's only possible when you have people--agents, casting directors--who are fighting for you and producers who are open to different interpretations.

The most frustrating thing about being an Asian actor is that most of the roles available to me are tangential or supporting roles without fully defined arcs or journeys for me to go through. It's one of the reasons I felt it necessary to create more opportunities for myself. I probably would not have chosen to also be a producer if things had come so easily. I find producing very fulfilling and it allows me the luxury to pick and choose my acting projects. Unlike acting, there are very few barriers to entry in the producing field. If anything, the fact that I am the only Asian producer currently working on Broadway has only helped me to stand out and be remembered.

Lloyd: There are things about it that are difficult, but it's generally pretty wonderful. As far as whether it helps or hurts to be Asian, that's impossible to truly measure since I can't say I know exactly how it is for non-Asians. I know that for us, opportunities are somewhat limited, but I like to think that because there is such a rich community and infrastructure in New York for Asian American theater artists, that it makes the opportunities that do come along more impactful; both in terms of personal and career development. I've been really lucky to have had the counsel of some truly terrific artists and mentors specifically eager to support younger Asian American artists, and I think that we definitely have a tendency to actively recruit young talent, through opportunities like 2G's open call events, and the Ma-Yi Writers Lab, to name just a couple.

Angela: I think the road is always difficult for any actor; Asian, white, or black. There may be less roles out there for Asian actors, but my white female blonde friends find that even though there are more parts for their types, they have to compete with a lot of white female blondes to get them, most of whom are "famous" or have famous parents. I think that being Asian has helped me. There's still a lot of competition, but I've been seen for projects, BIG projects even, with a meager resume. After I graduated, I didn't have much of a professional resume, but I was being seen for leading roles in movies just because they were looking for Asian females who could speak Chinese. At times when they were looking for a role, I've been cast before a Caucasian because I was a more "interesting" racial choice for the role. Now, it has never been just because I'm Asian, I obviously have to also be just as talented as the people I'm up against, no matter what the race.

Telly: It is a tough business that's full of ups and downs. I am blessed to have had supportive teachers and mentors who believed in me regardless of race. They saw me for my talent and my potential, and they taught me to work hard. I have also been very fortunate and lucky to be in the right place at the right time, but I also believe that one makes his or her own luck. Luck is preparedness meeting opportunity.

I've been lucky enough to both be hired because I was Asian and also cast non-traditionally. My first two Broadway shows, Flower Drum Song and Pacific Overtures featured all-Asian casts. I also got to play a dream role of mine last year at Philadelphia Theater Company: Song Liling in M. Butterfly. I've also been encouraged by those projects that have cast me non-traditionally. I originated the role of Boq in the Chicago company of Wicked, a role previously played by Caucasians. Wicked has a long record of casting non-traditionally, and I applaud their efforts to cast solely based on the merits of talent.

Makalina: Back in my day in the mid-70's, it was easier to be in the business in a way. The opportunities were fewer, but living in New York City was not as hectic. There was less worrying about being able to support yourself. As for roles for Asians, there wasn't much.

What kind of support/or lack of support did you receive from your family? What were their concerns about you going into the entertainment world?

Pun: My parents have always loved theatre and used to bring me to shows all the time. They supported my acting as a hobby, but understandably had fears when I chose it as a career. The lack of steady work and being underpaid for your work in this field is enough to make any parent worry. To this day, my mother still urges me to "get an office job," although given the current economic climate, it is debatable what kind of career path can truly be considered stable. As much as my mother complains, she shows her support in other ways. If I'm on a TV show, she's usually the first to get very excited and phone all her friends. I find that very funny. Expectations were high for me because I was the only son. My parents had been grooming me for a career in diplomacy. Ultimately, I knew I would always regret it if I didn't at least try my hand at pursuing an acting career. Regret was something my father in particular understood. He had sacrificed his own career inclinations and went into banking as a result of my grandfather's insistence. I am in this field because it's the one thing I'm most truly passionate about, and it may be hard for others who don't share that passion to understand the sacrifices artists make. I would not want to live in a world without art. I believe it to be essential and that it teaches us how to be more human.

Lloyd: Well yeah, it was hard at first; there's no road map for this life, so there are obviously concerns. I've talked to kids and young adults at panels and conferences who say they'd love to pursue the arts as a career, but just don't feel like it's an option because of parental pressure. But I think there's more to it than it seems on the surface. When a parent wants their kid to be a doctor or a lawyer, I think the reasoning is actually pretty complicated, and that for the most part, those are attractive careers because they carry with them not just financial stability, but also a sense of authority and command. I think in general, parents really just want to know that their kids know what the hell they're doing, and unfortunately, for a lot of kids in the arts, there's a sense of fear and panic and uncertainty that goes with it, and parents can sniff that out. What parent wouldn't be scared by that? It was a big day for me when I discovered that all I had to do was project an air of calm confidence and certainty about it, to show that I was capable, and comfortable with it. Parents have no choice but to respond to that. Also, you can always just tell them you want to be a college professor. That way you can study theater pretty much through the master's degree level and still keep up the ruse, audition, write, direct, whatever, and it seems so much more stable. That can be potentially effective.

Angela: They were unusually supportive because I took so much initiative. I got myself an agent when I was 13. My parents saw my zeal, but I had to get straight A's otherwise I couldn't act. So when I decided to major in acting, I applied to acting universities as well as academic ones. My parents said that if I didn't get into the TOP acting college out of the ones I applied for, then I should probably go to an academic university. So luckily I got into Carnegie Mellon.

Telly: My mom and dad are an inspiration to me. My parents immigrated to the US in 1975. They came from Hong Kong with two suit cases, 200 dollars, and the kindness of their friends in New York who let them crash on their couch until they could get on their feet. They worked hard, learned English, went to night school, and built a life for themselves. They achieved the American dream through years of hard work and frugal spending. They instilled in me the importance of good education and hard work. Of course, like most immigrant parents, they wanted me to be successful, and often, "success" to them means monetary success. Money meant comfort and happiness to them, and the idea of artistic fulfillment wasn't something that they understood.

When I told them I was interested in going to college for acting, they expressed their concerns. Would I be a starving artist? Was I wasting my college education on a useless major? But I was lucky enough to do some TV promotional work for the WB-Channel 11 when I was in high school, and when they saw the checks coming in, they understood that performing could also be lucrative. I also had my mother come watch classes with me at Carnegie Mellon, and she got to watch the students and faculty work on the craft of performance. When she watched how talent was nurtured and how technique was taught, she understood that acting was a trade just like any other.

My mom always said to me, "Children are like stocks. You invest in them, and they go up and they go down." She said that letting me attend Carnegie Mellon was a big risky investment, and only time would tell if the investment would pay off. When I booked my first Broadway show, she said, "Look! My stock just went up!"

At the time, I didn't understand their reticence. Like any rebellious teenager, I just thought my old, fuddy-duddy mom and dad just didn't "get it," that they didn't support or understand me. Of course, now I understand that their concern came out of a loving place and they simply didn't understand the idea of balancing art and commerce. As immigrant parents, they achieved the American dream through hard work and frugality. My idea of the American dream also includes the idea of balance; to be able to do what I love doing and put three meals on the table.

Makalina: Well I made sure to take care of getting a college diploma first to satisfy their concerns in that department. The support I got from them was more moral than monetary. My financial stability was their biggest worry.

Considering the current state of Asian faces in movies/television, do you think the Asian image is being improved or tarnished? Some notable Asians on TV like Bobby Lee on MadTV (who often plays up unattractive Asian characteristics in skits), Rex Lee on Entourage (playing a gay secretary whose race and sexuality are constantly the butt of the jokes), and Masi Oka, the nerdy "Hero", are not traditional "cool" or "leading men" characters. On the other hand, you have a an actress like Sandra Oh on Grey's Anatomy where race is not a huge factor in the presentation of the character. Would you take on a role that mocks the Asian race or promotes negative stereotypes?

Pun: We are still fighting stereotypes within the industry, but I think our image has very much improved. My very first pilot season, the only roles I could get seen for were drag queen roles. In that first year, I would say a good quarter of all my auditions require me to have a convincing Asian accent. The year I graduated from Yale, there were only two Asians actors in recurring roles on prime-time TV: BD Wong on SVU and Daniel Dae Kim on Lost. It's interesting to note that Daniel, who is classically trained, hardly spoke a word of English in his first season.

Asians are still seen as foreigners and there are very few Asian American stories being told. In the past five years, however, I've noticed a huge difference in the number of Asians on screen. It's a very exciting time to be in the industry. Perceptions are shifting, particularly among a younger generation of trendsetters, and corporations are actively trying to seek out the Asian American dollar.

I also think it's important that we don't get so PC that we can't laugh at ourselves. That's when we really become "uncool." It's a fine line though between skewering a stereotype and perpetuating them. What's great about Masi Oka's character on Heroes is that the writers allow him to show more than one side of his personality such as when he teleports to feudal Japan and becomes a samurai and love interest to a Japanese princess. He may be nerdish, but he also has a heart of gold. I think most people find him endearing and his enthusiasm infectious. It's always more interesting to watch a super hero who is learning to be brave and confident than a hero who is unstoppable. This is vastly different from the depiction of Asian nerds we had when I was growing up, such as Long Duk Dong in Sixteen Candles. The important thing is that while stereotypes persist, today there are more positive examples of Asians in the media that counteract those stereotypes than ever before. As more people become used to seeing a variety of Asians, those stereotypes will hopefully fall away.

If a role is out and out blatant racism, I would absolutely not take it on. However, very few things are blatant, and the lure of increased exposure and money can be hard to resist. I have no problems putting on an Asian accent so long as I felt my portrayal was three dimensional and not a caricature. I think if you stick to your principles, you can't go wrong. This week, I had a commercial audition for a character that was described as a computer specialist. They asked people to come in with a short sleeved shirt and necktie. Immediately, I knew they were looking for a "nerd." I brought my prop eyeglasses for extra measure. However, after getting to the audition and reading the sides, I decided to go a different way. I would have no qualms portraying a nerd if I was one of a gaggle of nerds of different races. But in this commercial, I would be the only nerd. I decided to put on my sweater over my shirt and to take off my tie. With just my glasses, I looked like a smart but hip guy who wasn't trying too hard. I played the character as myself without giving him any nerdish qualities. I just found out today that I got put on first refusal (when an actor is asked to be available for the shoot date(s), but with no guarantees until a final decision is made). I might have stood out exactly because I refused to do what everyone else was doing, or perhaps I surprised them to think about the role in a different way. I will ultimately never know why they liked me. The point is that you will never be disappointed if you are true to yourself, and sometimes more doors can open up for you because of it.

Lloyd: I'm uncomfortable with the notion that a nerdy character, gay character, or a character with an accent is somehow offensive. I know plenty of gay Asian Americans, plenty of comic book loving Asian Americans, and plenty of people with accents. What's wrong with that? My dad has an accent, and if he were on television, someone somewhere might say that's not cool. I'll kick em in their teeth. You know?

I'm well aware of those who go out of their way to push for a hyper-masculine Asian American agenda, and while I understand it from a sociological perspective, it's not my thing. It feels like a reaction to someone else's terms of what it is to be a man. And frankly, it's not attractive in non-Asians, why would it be attractive in us? And the fact is that once we hit a point where we no longer expect every Asian American character on television to be all things to all Asians (which I definitely think is happening here), then we're on to something. That's just a question of volume. We'll care less about the stereotyped characters when characters in general are more common. I think we're already on that path. There are guys like Ken Leung, Daniel Dae Kim, and Aaron Yoo who are often playing the "cool" guy. So we need to find a way to have something for everyone. We're a diverse demographic, and the best thing we can do is to show off all of our sides, and not get caught up in trying to define which of those sides is the "good" side.

Angela: I look at it this way; if the characters in the show seems to be a sterotype, then the actor is not doing their job. The comedians, like Bobby Lee, should be allowed to poke a little fun at stereotypes if Chris Rock can do stereotypical gangster or ghetto blacks. The actor has the responsibility to not make it a stereotype. If you are doing bad stereotypes so that others can laugh at your accent and your googly eyes, then that's your fault as an actor. Characterization and stereotypes are completely different things.

Telly: I am a fan of Heroes and Mad TV, and I think Masi Oka and Bobby Lee do great work on those shows. In particular, I think Mr. Oka gives his character great integrity and heart, and has played the character with many colors and textures. They are successful Asian actors who have become household names, and that in itself is an incredible achievement.

I think the pigeonhole of images like the asexual, nerdy, Asian male or the extremely sexual, exotic Asian female, is the fault of the Hollywood writers and producers. It is also, indirectly, our fault. I think we, the audience, should dare them to show us something new. Stereotypes exist, and to constantly play at them for a laugh or to appease what they think is the audience's expectation, will eventually (if not already) become trite. I am bored with seeing the angry black man. I am tired of the nerdy Asian character. I am sick of seeing the Hispanic cleaning lady, or the stuck-up Caucasian woman in a country club playing golf. I dare Hollywood to show us something new! Take the risk and show us the diversity that really exists in this country.

That is not to say that there aren't brilliant artists out there who are playing the stereotypes in order to expose them for what they are: just stereotypes. This is especially true of comics. Artists like George Lopez, Larry the Cable Guy, and Margaret Cho get you to laugh, but they also open your eyes to the the social and racial prejudices that exist in all of us. They begin a very important dialogue.

I am not in a place to judge anyone who would take work that would mock the Asian race or promote negative stereotypes. Like I said before, being a working actor involves a fine balancing act of art and commerce, and realistically, there are going to be some gigs that are just that; a gig that pays the rent. But, I will say that each artist should have a personal standard, and should constantly weigh whether or not their own integrity is being compromised for the sake of a paycheck. If one is willing to sacrifice their own integrity, then they must be prepared to deal with the lasting consequences of that action. I also won't place judgement because whether or not a role is insulting or is subjective. I've certainly turned down auditions or roles that I deemed unacceptable, but that same opportunity could mean something different for another Asian actor, depending on their own financial situation and/or artistic views.

Makalina: It doesn't bother me because I think those roles are openings to meatier roles. But I would like to see more roles that stray away from your usual Yakuza, Triad, goofy, nerdy, martial-arts types. I'd like to see more young dads or romantic leads. Things are getting better, but there are still casting directors that still look for stereotypes or ethnically ambiguous faces. It's hard when I see a talented person, knowing it's harder to get them into the market because of their ethnicity.

I remember seeing a German play a while back featuring an all Asian cast. I overheard an elderly white lady in the audience saying "They're all Oriental!" So there is still a certain mindset present among some people. But in terms of exposure, things are positive overall, with theater being more open to diversified casting.

As an Asian in the entertainment business, do you feel you have a duty to forward the Asian presence on stage or screen? Or do you feel that such a burden should not be put on an individual performer's shoulders?

Pun: I didn't set out to be the only Asian to be producing on Broadway right now, and it certainly wasn't out of a sense of duty to forward our presence. However, having seen the effect that my position has in the Asian American community, I can't help but feel a sense of responsibility. I have no connection to Texas, so I was surprised when the Austin Asian American Chamber of Commerce announced that they wanted to give me a Star of Asia award. Going to Austin, I was astounded by how much it meant to Asians who were half way across the country to know that they were being represented on Broadway. I also think it means a lot to my Asian actor friends that there is someone like me on the other side of the table. I firmly believe that things will not materially change until we have more Asian directors, casting directors, producers, and especially writers. That being said, I am not about to produce something solely because it is Asian if it doesn't fulfill the artistic criteria I am looking for. A piece of art speaks to me for a variety of reasons, and though my ethnicity is important, it's only a part of who I am. However, I know that I am much more open to content that other producers have dismissed off hand as non-commercial. There are many producers who believe that if a show is about the experience of a minority group that it will not play to a larger audience. I disagree and believe that the more specific something is, the more universal it becomes. The job of a good producer is to be able to show the masses why a play or film, etc. should matter to them.

Lloyd: I'm conscious of it, but again, I think it's important to do it on our own terms; by which I mean an individual writer or performer's terms. Everybody's going to have a different notion of what "forwards" our presence, and sometimes they'll conflict. We're at a very exciting time in Asian American playwriting, in a way that probably hasn't yet translated to film and television, but is definitely the next step in that process. The Asian American playwrights I know and work with are far less interested in writing from a perspective of an identity politic, and are instead writing from a far more personal, individual place than a group identity. Issues of Asian American identity are becoming less the focus, and more the background. Instead of ethnicity being the "problem" of a narrative, it's now just a given. The characters might be Asian American, but their concerns are not limited to those that address the experiential crisis of that particular identity, which is impossible to accurately define anyway, unless in some monolithic way.

I think this is particularly important and exciting, because when we empower artists to feel the validity of their own experience, rather than a group experience, we create a theater of humanity, based on individual expression. I can't think of anything else more effective against combating stereotypes than that sort of humanization.

Angela: I think it's personal. For a while I noticed that a lot of the Asian roles I was auditioning for or cast in were docile, sweet, and soft-spoken. On paper, they seemed like the Asian submissive stereotypes, but it was my responsibility as an actor to make it more than that; to flesh out the characters and show that, yes, there are the submissive types in Asian culture, but there is a well of personality, opinions, thoughts, dreams, and desires that brew inside the character that inform these choices.

There's usually a lot of strength in Asian women. On the outside they are culturally forced to be one thing, but the interesting thing for the actor is to not just play the outside. In Chinatown, you see 80 year-old ladies marching up and down the streets with bags of groceries hanging from their gnarled hands. It's inspiring. My grandma was one of them. For me personally, I know that I would like to play characters that have depth, regardless of race.

Telly: Because there aren't many Asian performers, I always feel a responsibility to represent myself and my fellow Asian colleagues in the best light possible. I think that most performers in the Asian acting community feel the same way. I feel great pride when I see an Asian performer doing excellent work on stage or on screen. I see it as an achievement for the community as a whole. I hope to inspire that same pride when I'm on stage. Who knows? I might also inspire that Asian kid in the Broadway theater who will later become the next generation of Asian talent.

Makalina: I don't think it's a duty, it's an obligation, and not so much a burden as it is an honor.

What advice would you give Asian actors entering the business this day and age?

Pun: I think training is important if you are planning to have a long career. While there are successful actors who do only one thing repeatedly, you will find more work if you are as versatile as possible. I think it's important that you find other things which are fulfilling for you other than acting, and that you know how to create your own opportunities. Lastly, I believe strongly that a rising tide raises all boats. One's success in this business is proportional to the strength of your networks. It's a business of handshakes; of doing favors and remembering when favors were done for you. People remember good work and are asked for recommendations all the time. No one rises to the top alone. Contrary to popular belief, I find that nice guys finish first.

Lloyd: Read the new wave of Asian American playwrights. Be the kind of actor you want to be, rather than the kind of actor you think people expect you to be. And don't be scared, because everybody wants you to succeed.

Angela: Everyone's path is going to be different. Don't let any tell you that it's going to be harder for you just because you're Asian. It's hard for everyone. Always remain humble. I had to learn humility the hard way and I really think that it carries you farther than anything else does. Most importantly, I think for any actor, don't ever let your career define who you are. The success of your career does not mirror your success as a human being.

Telly: Always keep training, and working at your craft. An actor never stops training, and an actor can never stops being better, no matter how successful they become.

Secondly, I would say to actors of any minority to think of themselves outside of what's expected. Yes, on all the casting notices it says, "Actors of all ethnicities encouraged to attend," but we all know there is a glass ceiling that exists when it comes to race and casting. Shattering that glass ceiling begins with us. No one will cast you non-traditionally if you, yourself, don't think of yourself that way. As soon as you start saying, "Why not? I can play that part too!" you will start seeing it affect the way you perform, the way you audition, and the way you see yourself as an artist. There will certainly be a lot of nay-sayers and negative influences, but try your best to live in the possibilities. It's a rough business, but stay hopeful that at the end of the day talent, drive, perseverance, and preparedness is the formula to success.

Makalina: You have to be professional. I've seen Asian actors try to go purely on their race or looks. They show up unprepared, sometimes without a monologue to perform. You have to be professional and study your craft. You can always find a niche in this business but you have to market yourself accordingly. You also have to realize that to make money, you have to spend money: headshots, resumes, training. Doors open rarely in this business, but when they do, you have to be ready to not walk, but run through them.

This is a reprint of an article that appeared in Asians in America Magazine.