Lea Salonga has built a legacy playing characters defined by courage and kindness — whether as the resilient Kim in “Miss Saigon” or as the singing voice of fearless Mulan in Disney’s “Mulan.” But now, in a striking departure, the Tony-winning singer and actor is tapping into her darker side, making her villainous debut in Season 4 of Fox’s “The Cleaning Lady.” (Watch the video interview above.)

“I don’t get to play the villain very often,” Salonga tells me. “I tend to be associated with women that have a heart of gold, or women who are heroic, or women who are much softer. To play somebody that is not likable is a lot of fun.”

Salonga’s guest appearance on the show marks not just a career shift but also a moment of representation she finds deeply meaningful. She plays Rose, who has married into wealth and revels in flaunting her charitable contributions. However, her so-called generosity is laced with condescension.

As Fox’s first AAPI-led primetime drama and the longest-running network series starring Southeast Asian women, “The Cleaning Lady” is a groundbreaking show that amplifies underrepresented narratives. The show subverts stereotypes by flipping the typical immigrant narrative. Instead of portraying its protagonist, Thony De La Rosa, as a passive victim struggling to assimilate, the Cambodian Filipino doctor is presented as a fiercely resourceful woman who takes control of her circumstances.

After researching the series, Salonga was drawn to its depth and authenticity. “There are underworld elements, there are undocumented people, and there are all these stories that are so human and communities that are vulnerable,” she says. “It means the world that there is a universe in which these kinds of stories are able to attract interest and wide viewership.”

Salonga believes that her portrayal of Rose — although she appears for just one episode — was a vehicle to champion the stories of Filipino women that don’t often get heard. The experience was about more than just acting. “It’s incredibly empowering to be a part of something like this,” she says.

Salonga made history as the first Asian woman to win a Tony Award in 1991 for her powerful performance as Kim in “Miss Saigon,” a role that not only launched her career but also sparked critical conversations about the portrayal of Asian characters in theater, including the industry’s reliance on stereotypes, the casting of white actors in Asian roles and the broader lack of opportunities for Asian performers on Broadway.

In the decades since, Broadway has made significant strides toward diversity. Productions like “Here Lies Love” have brought all-Filipino casts to the stage, while “KPOP” has celebrated Korean talent in a way rarely seen on the mainstream stage.

Yet Salonga’s groundbreaking success in “Miss Saigon” remains a defining moment in both her career and Broadway history. Reflecting on her early days with the production, she recalls, “It was a massive opportunity. I was 17 and auditioning for it, not knowing where it would lead. Looking back, it was a lot of hard work and very challenging, but it showed me what I was made of.”

Salonga continued to pioneer new opportunities in entertainment, making history in the animation world as the singing powerhouse behind not one, but two Disney princesses — Jasmine in “Aladdin” and Mulan. The latter was especially meaningful to her, as it marked a significant step forward in authentic representation. “When we did ‘Mulan,’ the majority of the actors were of various Asian backgrounds,” she says. “I could see people that look like me behind the scenes as well as up on-screen. It was inspiring to see a character like Mulan — strong, yet vulnerable, deeply committed to her family, and finding honor for herself.”

Even after decades of trailblazing achievements, Salonga remains in awe of the art form that shaped her career. Now, she returns to Broadway in “Old Friends,” a tribute to Stephen Sondheim’s enduring legacy, where she shares the stage with theater icons like Bernadette Peters — an experience she still finds surreal.

“What is my life?” she muses. “I get to hold her hand and sing with her. There are certain times when I have to block ‘Send in the Clowns,’ or else I’ll start crying. … I am just incredibly, incredibly lucky to be doing this.”