Why Haven’t We Heard from Andrew Barth Feldman?
by Chris Peterson
Before we get into this, it’s important to say upfront that Andrew Barth Feldman is a wonderful human being. I’ve had a couple of encounters with him where I’ve seen this. Many who have worked with him or know him personally say the same. He is kind, thoughtful, and talented.
Let’s also preface this column by saying sometimes actors want to speak but are unable to. They are held back by the realities of show business and the guidance of a production’s public relations team. It’s entirely possible Andrew wants to say something about the recent casting discussions around Maybe Happy Ending, but for now, we simply haven’t heard from him.
That absence of a public response should draw as much attention as the casting decision itself.
Maybe Happy Ending’s producers’ choice to cast Andrew Barth Feldman, a white actor, in the role of Oliver, replacing Darren Criss, who has Filipino heritage, has stirred significant conversation in the theater community. The show is set in Seoul and based on Korean storytelling, so the casting raised questions about authentic representation and opportunities for Asian and Asian American actors.
Many, including the Asian American Performers Action Coalition, have expressed disappointment. They see this casting as a missed chance to honor cultural specificity and continue the much-needed push for diverse representation on stage. Casting a white actor in a role so closely tied to Asian culture is, for some, a sign of ongoing erasure.
From Andrew Barth Feldman himself, there has been no public statement other than the one that was attached to the initial casting announcement. It read,
“I am so in love with this show and with Helen J Shen. I’ve been a plus-one on this Broadway journey from the beginning, and this brilliant team and beautiful company have already become such a big part of my life. That they trust me with this role, and are giving me the ridiculous gift of sharing it with Helen, is an honor beyond words.”
He also posted on his Instagram when the announcement was made,
“i am going to be back on broadway for the first time since i was 17
in a show that has reminded me (thirteen times now!) how to love a person
playing opposite the person i love
i am stunned by @michaelarden, @hue_park, & Will Aronson’s faith in me. i am so heartened by the warmth that this company of wonderful people has already included me in. i am so happy.
shel, this moment is once in a lifetime. thank you for sharing it with me.
SEE YOU AT THE BELASCO???? THIS IS CRAZY???????????????????”
But this statement came out before all the controversy, before all the larger discussions of the issues surrounding this casting.
The show’s creators Will Aronson and Hue Park responded with a statement saying Oliver and Claire are robots with intentionally ambiguous ethnicities meant to be universal rather than culturally specific. While honest in intent, their statement revealed blind spots that the AANHPI community has called out. The statement missed acknowledging the cultural context and lived experiences that Asian and Asian American actors bring, and it overlooked the broader history of underrepresentation and misrepresentation in theatre.
Helen J. Shen, who originated Claire and is Andrew’s real-life partner, spoke warmly about performing alongside him and acknowledged how difficult this controversy is. It was good that she addressed the issue publicly, but it should not have been her responsibility alone.
In today’s fast-moving social media world, public figures often speak quickly, especially when cultural and social issues are involved. But Andrew’s voice remains unheard. Whether because of personal choice, advice from PR, or timing, this silence leaves room for speculation.
This raises a larger question: what role should actors play in conversations about representation? Is it fair to expect them to weigh in publicly on casting and cultural debates, especially when they might be caught between personal beliefs and professional constraints?
For some, Andrew’s quietness shows respect for the production or a desire to avoid making things worse. For others, it feels like a missed chance for a young artist with a platform to engage thoughtfully with the community and join the critical conversation about diversity in theater.
Audience expectations are changing. Theatergoers today are more aware and vocal about representation. They want authenticity, not just in casting but in storytelling and values. When controversies arise, fans and critics look to actors as ambassadors of change, hoping their voices will bring clarity, empathy, and progress.
As his run in Maybe Happy Ending nears(September 2), the question remains: When will we hear from Andrew Barth Feldman? What will he say about this complex moment? And how will the theatre community continue to balance artistic vision, cultural sensitivity, and the call for genuine inclusivity?
The statement Andrew might make could touch on several key points. He could explain why he took the role of Oliver and what the character means to him personally. He could express respect for the AANHPI community and acknowledge concerns about representation and cultural specificity. A heartfelt message showing his commitment to learning, listening, and honoring Asian and Asian American voices would go a long way.
A statement from Andrew might not fix everything, but if it is genuine, it could be a positive step toward healing and open up a meaningful dialogue.
So, to the show’s producers and press representatives(Polk & Co), please release a statement from Andrew Barth Feldman or let him speak for himself. His voice matters. It is time for it to be heard.
Not hearing from him doesn’t mean there isn’t a story or thoughtful response waiting beneath the surface. It just means the theatre community and audiences are still waiting.