Conrad Ricamora Launches ‘Right To Be There’ Scholarship to Support Asian American Male Actors
Broadway’s latest casting controversy has sparked a wave of community action, and one of the industry’s most visible Filipino American performers is leading the charge.
Conrad Ricamora, currently appearing in the offbeat Lincoln comedy OH, MARY! at the Lucille Lortel Theatre, has introduced a new funding program for Asian American men pursuing acting degrees. The initiative, titled The Right To Be There Scholarship, targets undergraduate and graduate drama students who often shoulder the cost of advanced training without the backing of established industry networks.
A response to decades of marginalisation
Ricamora cites a long history of limited roles and systemic exclusion for Asian American men in theatre. He argues these performers frequently feel pressure to prove their worth at every audition and must develop undeniable range to secure work. That reality, he says, is compounded by the recent backlash surrounding MAYBE HAPPY ENDING, a South Korean musical now on Broadway. The show courted criticism after announcing that white actor Andrew Barth Feldman would replace Tony winner Darren Criss, whose casting had been celebrated as progress for Asian representation.
While Ricamora emphasises that his scholarship predates the specific casting decision, he acknowledges that the uproar underscores persistent barriers. Many community members view the Feldman announcement as a sign that momentum for Asian visibility in major productions remains fragile.
Rapid fundraising success
In less than forty‑eight hours, the scholarship’s GoFundMe campaign surpassed forty thousand dollars in donations, including an eighteen‑thousand‑dollar contribution from Ricamora himself. The performer is now organising meetings with educators and administrators to establish a formal selection process and long‑term structure that could evolve into a permanent foundation. His goal is to create annual awards and, eventually, a week‑long workshop programme where recipients can train with leading professionals at no cost.
Investing in the next generation
Ricamora, 46, is best known for his work in THE KING AND I and HERE LIES LOVE on Broadway, as well as the television series HOW TO GET AWAY WITH MURDER. Reflecting on his own career path, he notes that sustained access to top‑tier training was critical to his ability to move from portraying Filipino political figure Ninoy Aquino to embodying Abraham Lincoln in consecutive seasons. By removing financial hurdles, he hopes emerging actors can focus on artistic growth rather than survival.
Initial feedback from peers has been overwhelmingly supportive. Fellow Asian American performers have told Ricamora the scholarship has renewed their optimism during a difficult period. The fund’s creator believes that sentiment validates his push to address historic inequities through tangible resources rather than continued debate alone.
Next steps
The campaign remains open‑ended, with Ricamora aiming to collect enough capital to endow the programme and expand its offerings. Long term, he envisions a pipeline that not only pays tuition bills but also builds a community of mentors and advocates committed to reshaping casting norms. For now, the scholarship represents a proactive step toward ensuring that future Asian American male actors are not asked to justify their presence in rehearsal rooms, classrooms or leading roles, but are instead recognised for their craft on equal footing with their peers.
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