Is there any organizational title more inaccurate or more inappropriate than the title "Actors Equity," which the actors' union has dubbed itself? First, this group attempted to exclude British actor Jonathan Pryce from the lead role in the Broadway production of "Miss Saigon," even though he had won international acclaim for his London performance in this role. Now, this same group is at it again trying to prevent Manila actress Lea Salonga from playing the role of Kim, for which she won Britain's prestigious Laurence Olivier Award in the same London "Miss Saigon" production {"Will She Miss 'Saigon,' " Style, Dec. 26}. It is anything but equity to deny these artists a role in the planned Broadway production of "Miss Saigon" simply because these individuals don't conform to the ethnic profile that the actors' group believes should fill these roles.

Max V. Solview, a Manila columnist, probably best described the incongruity of this episode when he observed, "It's sad that some Americans, in a land which has long preached equality of man and equal opportunity, have become such rabid, racial bigots." American Actors Equity should change its name or its principles! FRANCIS T. COLEMAN Washington

The Post's story about Lea Salonga and the efforts of Actors Equity to prevent this musical superstar from performing as Miss Saigon in the United States left out an important episode in her career.

In 1988 Lea Salonga joined the Johns Hopkins University Center for Communication Programs in performing and promoting two songs that advocated a thoughtful and responsible approach to sex for young people. The songs "That Situation" and "I Still Believe" (same names, but different music and lyrics, as the songs in "Miss Saigon") warned teenagers to avoid "that situation" -- the risk of an unwanted pregnancy -- and to "wait and see what our love can be -- if we're ready to face life together." Both were big hits in the Philippines and sold around the world.

While the character of Kim in "Miss Saigon" is not exactly a role model for young girls, Lea Salonga herself, as the story notes, is an excellent example of a highly talented, highly disciplined teenager who has been and can continue to be a very positive example to aspiring young people, Asian, American or any other nationality.

It would be ironic indeed if the United States, which exports worldwide songs and other entertainment promoting sexual adventures and promiscuity, were to block the appearance here of a teenage star who has been an international spokesperson for thoughtful and responsible sexual standards for young people in all countries. PHYLLIS T. PIOTROW Director Center for Communication Programs John Hopkins University Baltimore