Eva Noblezada, the enchanting Broadway star, isn’t just an actress; she’s a conduit for a timeless spiritual exchange. Her backstage videos reveal a relatable, chaotic good energy: a DIY makeup artist fueled by music and perhaps a discreet gin stash. But it’s her ability to make the magic of theater accessible, her infectious enthusiasm inviting audiences into her world, that truly captivates.
Our conversation, bridging the 13-hour time difference between New York and Manila, unfolded against the backdrop of a politically turbulent United States, having just elected a convicted felon as president. The impact on the theater community was palpable. Eva shared a poignant reflection on a lyric from *The Great Gatsby*, her current role, stating, “‘Let my girl be a fool to whom it won’t occur that the choices she makes in this life are never hers.’ [With the overturning of Roe versus Wade], that was a horrible thing to sing the night after he got elected,” Eva recalls. “The whole audience could feel it too.” The resonance of Fitzgerald’s century-old words resonated with a chilling relevance. The same could be said about the haunting relevance of “Why We Build a Wall” from her *Hadestown* days; a song that feels disturbingly prescient in today’s political climate.
Eva’s story embodies the American Dream. With Filipino grandparents on her father’s side and Mexican heritage on her mother’s, she grew up in San Diego, enveloped in the warmth of both cultures, seamlessly navigating between vibrant family gatherings and delicious feasts. Her childhood, filled with the feeling of belonging and immense love, instilled a deep sense of family and community.
As she matured, her appreciation for her dual heritage deepened. “It’s a powerful thing to grow up and become more attached to where your family is from and ask more questions about their history and form connections,” she reflects. The family’s move from San Diego to North Carolina at the age of seven uprooted her, separating her from the familiar comfort of her close-knit family and the California coast. Yet, it was in Charlotte that her theatrical destiny unfolded.
A pivotal moment arrived at age 10 when her aunt, Annette Calud (a former Kim in *Miss Saigon*), took her to see *The Lion King* on Broadway. The spectacle, particularly the breathtaking “Circle of Life” sequence, moved her to tears, igniting an enduring passion. At 13, she landed her first role—a somewhat inappropriately cast harem girl in *Aladdin* at the Charlotte Children’s Theater—yet, she embraced the experience, reveling in the theater community.
Her breakthrough came in 2013 when, representing North Carolina at the National High School Musical Theater Awards, she made her Broadway debut in the very theater where her love for the stage began. This led to a West End audition for *Miss Saigon*, a role that would change her life. At just 17, she stepped into the iconic shoes of Kim, following in the footsteps of Lea Salonga. Unlike a younger Lea, who may not have foreseen her Tony-award future, Eva was prepared. “I already knew what I was. I just needed someone to give me a break, like my big break.” Lea Salonga, her idol since childhood, became a beacon of inspiration, especially as a fellow Filipina, giving Eva permission to dream. Their eventual meeting cemented Eva’s sense of belonging and purpose.
Her experience in *Miss Saigon* (2015) was both exhilarating and eye-opening. Initially focused on performing to the best of her ability, she gradually became increasingly uncomfortable with casual racism prevalent on set, even during a scene where the director demanded “Asian chatter” from Filipino-American actors who didn’t speak Vietnamese. This incident, coupled with the initial use of gibberish in the wedding song (only corrected to real Vietnamese during the 2017 Broadway revival), made her reflect on the problematic legacy of the production. This prompted her to actively contribute to the portrayal of Asian characters with dignity and free of harmful stereotypes, while also questioning her own agency within the established production.
Eva’s subsequent film debut in Diane Paragas’ *Yellow Rose* (2019), playing an undocumented Filipino teen, marked another milestone. The film’s importance lay in its authentic representation of a Filipino character portrayed by a Filipina—something Eva longed for in her youth. After a remarkable five-year run in *Hadestown*, she was cast as Daisy in *The Great Gatsby*, a deliberate shift from her previous roles. Embodying Daisy’s confident demeanor proved challenging, particularly after years of portraying grittier characters. She learned to embrace the character’s complexities, independent of her own personal feelings, creating a fully realized portrayal down to the specific perfume she chose. The juxtaposition between the emotional toll of playing Kim and the learned self-care techniques she’s developed now is significant. She stresses the importance of separating her personal life from the emotional intensity of her roles, developing techniques to transition back to “Eva” after each performance, including listening to uplifting music and talking aloud to help her disconnect from the character’s world.
Ultimately, Eva views acting not just as inhabiting a role, but as engaging in an ancient spiritual exchange. The theater, steeped in history and the legacy of actors who came before her, remains a space of daily alchemy. “Even if I’m feeling anxious, the second I go into my character and I begin that transformation, I use that energy and transform that into part of my character, my voice, or the way that I move,” she says. “By the end of the show, my body might be exhausted, but my spirit feels refreshed, renewed.” In these turbulent times, the connections forged through storytelling and transformation become vital, reminding us of our shared humanity and revealing our innate divinity.
