Something old becomes new again with the current production of “Yellow Face” by Roundabout Theatre, which has been produced nationally, and internationally since it opened off-Broadway at the Public Theatre in 2007. That premiere production was directed by Leigh Silverman, who takes the helm in this current incarnation on Broadway. Penned by David Henry Hwang, it is difficult to decide if it is meant to be a documentary, a mockumentary, a farce, an auto biography or a semi-fictional auto biography. Perhaps it is all the above, but it is certainly not the only question that will fall upon the audience during this hilarious romp centered around racial casting.

The plot revolves around the controversy that came about when the Welsh actor Jonathan Pryce is cast in the role of an Asian character in “Miss Saigon” when it transfers to Broadway from London. Mr. Hwang was very active in leading the protest to stop this from happening, condemning the use of makeup to create a “yellow face.” In response to the controversy Mr. Hwang wrote a play titled “Face Value” which involved the casting of a white actor in a leading Asian role, who starts to believe he is an Asian emperor because of his Method acting. The play was one of the biggest flops on Broadway, playing only eight previews and never making it to opening night.

“Yellow Face” contains a fictional account of the casting of “Face Value” where Mr. Hwang casts a white actor in the leading Asian role. He then realizes his mistake and tries to convince the actor that he has Asian lineage, which worked, and the play was a success. Then the white actor starts being cast in every major Asian role offered, and everything goes haywire, especially when the truth leaks out. Then the plot takes a turn to Mr. Hwang’s personal life, when he agrees to sit on the board of his father’s bank to gain some income. The bank is linked to a Chinese institution that is depositing large sums of money into the bank, and is investigated by the FBI, causing a suspicion that it was racially motivated. All matters conclude but many of the questions that have been put forth have really been answered.

Perhaps the purpose of the play is to provoke conversation about racial casting rather than suggest a solution. So much has changed since the Miss Saigon controversy, and so much has stayed the same. A perfect example of diverse casting is put forth in this production. Four actors, male and female, different ages, play several roles that purposely conflict with their gender, age and ethnicity, putting forth the question of whether it is now acceptable to cast any actor in any role. The lines seem to be blurred in this dense yet powerful script that is hilarious.

The cast led by Daniel Dae Kim playing DHH is a remarkable ensemble with impeccable timing and great comedic sense. Ryan Eggold makes an impressive Broadway debut playing Marcus, the actor cast in the Asian role. Direction by Leigh Silverman keeps the action moving and a fast pace and avoids the pitfall of being heavy handed with the controversial subject matter. The set design by Arnulfo Moldanado is versatile and serves the many different locations well with seamless transition. Mr. Hwang’s script is dense and layered without a lot of filling. It is truly up to each audience member to take away as big a piece of the cake they think they can digest. “Yellow Face” is a great evening of good theatre but what may be the icing on the cake, is the conversations it may introduce afterwards.