Category: Diversity

20 Years Ago, Identical Racism Reaction in Boston Suburb

Anita, a Chinese immigrant senior, described the reaction of the Drama Club Students as: “Why are the Asians making a big fuss? It’s just a play.”

We were going through the play point by point, and there were lines that specifically Cara was going over, and people were asking what’s wrong with that? She was trying to explain and they wouldn’t understand.

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

In this case study, the school (renamed “Westlake School”) is a “wealthy suburban public” high school in the western suburbs of Boston. It could be Wellesley, Weston, Needham … or Newton.

The case study is here. I’m pulling out quotes from this to demonstrate the chilling similarities to show how little has changed during the last twenty years.

Written in the 1930s, [Cole Porter’s musical] Anything Goes, includes two characters names “Ching” and “Ling” who are portrayed as subservient gamblers in need of Christian conversion and described in the script as “two Chinamen.” They and other characters speak in pidgin English, like “so sorree no sow wild oats in China, sowee wild rice” and imitate Chinese nonsense syllables such as “Confucius say, Wa ho ding so le tow.”

Concerned about the high public profile and the legitamacy that the musical would lend to racial stereotypes, Asian Pacific American students challenged the play’s demeaning references to Chinese men and women as well as to Chinese language and music.

Students’ demands included”

“No Pidgin English,”

“No Fake Asian Languages,”

“Change the Names of Ching and Ling,” and

“Cut out the word ‘Chinamen’.”

Referring to the school’s student handbook, the students stated, “If this racist behavior [slurs], is not tolerated in the school halls, it should not be tolerated on stage for a public school play.”

Anita, a Chinese immigrant senior, described the reaction of the Drama Club Students as: “Why are the Asians making a big fuss? It’s just a play.”

Wendy, a Chinese immigrant junior, similarly recalled:

We were going through the play point by point, and there were lines that specifically Cara was going over, and people were asking what’s wrong with that? She was trying to explain and they wouldn’t understand.

…

In a letter to an Asian Pacific American parent who had expressed concern about the play, the principal articulated the school’s official view:

While canceling the show would have been a option, I felt it would have been more educationally sound for the students and teachers to engage in dialogue about the concerns and feelings that they had about both the negative stereotyping in the play and the dangers of censorship in an educational community.

…

The show did go on. As a concession to the [students who complained], however, a statement on the back inside cover of the program booklet for the musical acknowledged that some in the community had found the play racist and offensive. The statement also explained that the English and Social Studies department had facilitated class discussions about Asian American stereotypes in order to understand the socio-historical context of the play.

…

Based on their direct experiences, Asian Pacific American students found their issues, concerns, and perhaps even their very presence, to be marginal at Westlake School. In questioning the judgement of a senior faculty member and forcing a school-wide examination of bias in one aspect of the curriculum, their efforts were quickly undermined both by adults who labeled their intent as censorship and by Non-Asian peers who viewed them as “overly sensitive.”

Wendy recalled:

It’s like the day we were having that discussion in English class, and everyone was focusing on me, like looking at me saying, “Don’t you think we shouldn’t censor stuff?” They were looking straight at me like “what’s the problem?”

These are all related posts on Thoroughly Modern Millie at Newton North High School:

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

These are other articles and posts related to Thoroughly Modern Millie at Newton North High School:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters(Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, with two at Newton North High School. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 28, 2014
Millie Flap Makes it Abroad: in The Telegraph

US high school show triggers race row

A production of Thoroughly Modern Mille at a suburban Boston high school runs into trouble over its antiquated portrayal of Asians

By David Millward, US Correspondent for The Telegraph

The link is here.

When Julie Andrews starred in Thoroughly Modern Millie, which opened in 1967, it received huge critical acclaim.

But reprising the show 47 years later in a US high school has triggered a row over racial stereotyping at the academically successful school where nearly 17 per cent of pupils are Asian.

The outrage was caused by the portrayal of Ching Ho and Bun Foo, two Chinese immigrants working in the laundry of a New York hotel.

While such pastiche portrayals may have been acceptable in the late 1960s, they now cause as much offence in ethnically diverse American cities as “black face” minstrel shows recreating the ante-bellum South.

Even those promoting a celebration of America’s multi-cultural kaleidoscope can find that they are walking on eggshells.

Last month the organisers of a Black History Month dinner in Bangor, Maine caused huge offence by featuring fried chicken and watermelon.

The organiser of the dinner, who was accused of perpetuating ugly stereotypes, was also in charge of diversity training.

In Newton, which is about 11 miles from the centre of Boston, members of the local Chinese community reacted angrily to the school’s decision to stage the show.

“We would never do anything anti-Jewish, or anti-African-American. Blackface is unthinkable, but yellowface is utterly fine,” said Mia Wenjen, a local resident.

The play completed its four scheduled performances. However, Todd Young, chairman of the Newton North High School, apologised for any offence caused to the local community.

“We do understand that we did not anticipate the magnitude of feelings that the play would elicit.

“Even as educated artists and teachers we also learn and grow in situations like this.

“Future selections will go through more scrutiny and we will look at issues with a keener eye.

These are all related posts on Thoroughly Modern Millie at Newton North High School:

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

These are other articles and posts related to Thoroughly Modern Millie at Newton North High School:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters(Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

p.p.s. Here are some related posts on my Asian American blog:

How Asian Americans Are Portrayed in U.S. Media. Who Should Be the Next Asian Old Spice Guy?

Asian Americans in Recurring TV Gigs

A Racist Bakesale Exposes Reverse Discrimination Against Asian Americans (I include this link because this is the real racist front that Asian Americans are currently fighting. All my posts on this topic are here.

Making us explain why Yellow Face is offensive is a waste of our time. I can’t believe this is still being used. In real life, has there ever been a white person pretending to be Asian? It’s only in the media and on the stage that this ridiculous premise exists.)

Survivor: Cook Islands Winner Yul Kwon and Why Media Portrayal of Asian Americans Matters

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 27, 2014
The Boston Globe: Musical is little more than staged racism

WHAT IS most shocking about Joan Vennochi’s argument about the “Thoroughly Modern Millie” controversy in Newton is her attempt to substitute censorship for the issue that belongs at the center of this discussion: racism (“ ‘Millie’ fight creates a chilling effect,” Op-ed, March 20). It is not only “some Asian-Americans” who “were insulted” by characters in the play; the blatant stereotypes rankled many who understood the continued harm that can be done by staged racism. The fact that one of the songs in “Millie” is based on a blackface song popularized by Al Jolson in “The Jazz Singer” makes it especially clear that this contemporary play is rooted in a bad old American tradition.

Vennochi tries to frame “Millie” as a relic of another time and a wonderful opportunity to teach “students about the racial stereotypes depicted . . . within the context of history.” But this musical first hit Broadway in 2002, and is about the 1920s. Are we to understand that the Newton educators who embraced this teachable moment did so in order to talk with their students about anti-Asian racism in the early years of the 21st century? Or in the 1920s? Both?

Given that the plot deals with enforced prostitution (also known as “white slavery”), I especially wonder how this would have all gone if the students had performed a musical, complete with overdone Yiddish accents, about what historian Edward Bristow has called the “conspicuous” role played by Jews in the global trade in women. Parental reaction to that historical reality would likely have made for some rich drama.

Jeffrey Melnick

Cambridge

Link to Letter to Editor here.

These are all related posts on Thoroughly Modern Millie at Newton North High School:

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

These are other articles and posts related to Thoroughly Modern Millie at Newton North High School:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters(Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, with two at Newton North High School. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 26, 2014
Rebuttal to ‘MILLIE in Newton: Turn Stereotypes into Lessons’

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

On March 21, 2014, this Opinion piece was printed in The Boston Globe. Here’s the kicker: it’s an opinion piece of someone who chose to be anonymous.

So, I would like to refute points by pulling quotes. Note that I have inserted these quotes. They are not from the anonymous author of this article. You can read the original here.

Having recently seen “Millie’’ in a different production at a Greater Boston high school where my daughter was in the cast, I must say that it’s hard to detect nuanced stereotype-busting in the show.

From ‘Millie’ flap highlights how old plays are rife with stereotypes by Don Aucoin in The Boston Globe

‘Millie’ in Newton: Turn stereotypes into lessons

MANY AMERICAN musicals are immortal pieces of the nation’s artistic heritage. Others are time capsules that capture the prejudices of an earlier era — but can still be used as educational material.

“Our son made the difficult decision not to do the show because he could not invite his grandparents, my parents, [who are Chinese American and speak with an accent] to come and see this show. … He felt like he couldn’t participate. Who else was excluded?”

Jenny Chou, mother of Newton North High School Theatre Ink Sophomore

From Talk Back: Racism in Thoroughly Modern Millie at NNHS

Newton North High School’s production of “Thoroughly Modern Millie” sparked controversy this week, as some members of Newton’s Asian-American community objected to the play’s stereotyping of Chinese culture in the 1920s. The musical, though first staged on Broadway just 12 years ago, was based on a 1967 movie, and it shows.

“Asian American faculty members at Newton and the AACC have been trying to tell the director of Theater Ink, the chair of the department of Performing Arts and the principal how offensive the play is since it was first announced. They’ve made some slight changes but they still don’t get why it’s offensive and there’s no telling what the actual performances will be like.

…

THanks so much again for speaking up against this. [Asian American faculty members and students] have been feeling shut out and dismissed so voices from the community really help a lot. (The school officials still may not get why it’s bad, but they’ll understand bad PR and bad press, so please keep it up. I look forward to reading a review of the performance if you are able to go.)” From My Take on Thoroughly Modern Millie

Yet it’s possible to present such plays in educational ways. Since rehearsals began, Newton North noted in a memo, the cast and crew held discussions and workshops about the stereotypes present. Directors worked with the school’s Office of Human Rights and Asian Culture Club to better understand community concerns and to help students recognize wider themes of racism in American media and society. The play’s program included a note explaining as much. All these efforts suggest that Newton North worked hard to stage “Thoroughly Modern Millie” in a sensitive manner.

“This is a play that — I have no other way to say it — at its heart, in its DNA is deeply, deeply racist. Ignorant. There are stereotypes. You have the names Ching Ho, Bun Foo. Those aren’t actual Chinese names. What you have is a sort of a White American concept of what Chinese and Asians are meant to be and it’s there, laid out, for entertainment value.”

Charlene Beh, English Teacher at Newton North High School and Co-Advisor to Thoroughly Modern Millie

From Talk Back: Racism in Thoroughly Modern Millie at NNHS

Putting plays in historic context won’t entirely prevent hurt feelings; in the canon of musical theater, some groups are more likely than others to be portrayed in cartoonish ways. Still, give students some credit. High schoolers are mature enough to understand difficult themes, and audiences should be able to recognize a distinction between indifference toward racism and a production that goes out of its way to identify backward attitudes and uses them to educate students.

“I chose to move here from Hawaii and to work here and live in Newton when it could be so much easier for me as an Asian American to live out West where people don’t question my experience as painful when I experience racism, little and big.

…

To have people doubt the pain that I experience, that has been another thing that has been hard about all this stuff. Not intended at all, but it’s happened where I’ve had to have conversations with staff members who doubted the racism and pain that exists in the play.”

Michele Leong, English Teacher and Director of the Office Human Rights at Newton North High School and Co-Advisor of the Asian Culture Club and Co-Advisor to Thoroughly Modern Millie

From Talk Back: Racism in Thoroughly Modern Millie at NNHS

“Millie” has raised concerns at other schools. The Dalton School, a private school in Manhattan, performed a sanitized version with the playwright’s permission after initially deciding to cancel the show, the New York Times reported in January. Brookline High School performed its own revised version last month.

“I felt strongly the script was disrespectful,” said the Brookline director, Christien Polos. He and students rewrote the part of Mrs. Meers to change her from Chinese to Southern American and turned the two Chinese laundrymen into undercover police officers.

“We thought it was important to bring it in line with 21st century thinking,” he said.

From Some slam ‘racist’ stereotypes in play at Newton North in The Boston Globe

Comments from Students:

i understand that people were offended but don’t you think some are taking this a little too far? being a little dramatic? an incoming freshman is “afraid” to come to school? really?
sorry, but i’m sitting here rolling my eyes.

LisaD

In the comments From Talk Back: Racism in Thoroughly Modern Millie at NNHS

Hello Z,

I just wanted to respond to you because I think the gravest concern expressed on this page is that you would feel unsafe going to Newton North. I just wanted to say, as a student, that Newton North has impressed me as an incredibly open-minded, kind and accepting school. You’d be hard pressed to find a more forward thinking high school. Evidently, you will have problems that are inherit in every high school (feeling excluded, drugs, cliques, etc.) but these problems are for the most part very limited. However, I have never witnessed any discrimination or unkindness based on race or background at Newton North. You might experience micro-agressions (being asked where you’re from and people expect you to say China or something when you’re from Boston too), but I think micro agressions are something that are at this point universal. I hope this eases your fears about Newton North.

As it concerns the play, I think I have more accurate insights as somebody who has seen its development and been privy to the process. Let me begin by saying the intention with which this play was chosen. There are a limited repertoire of plays available to a high school theater, due to a number of prerequisites. Millie was chosen because it afforded large opportunities for female roles, which I think is admirable. Last year we did How to Succeed in Businesses, which was downright sexist and had limited female roles, and nobody complained.

I want to also say that people are missing the context of this show and the point of theater. First of all, we must recognize that productions are a representation of a time in history. Last year we portrayed the 1960s, where a bunch of guys start at a women’s butt and drooled over it. Is that not offensive? The most controversial character in the script, Ms. Meers, is a WHITE woman in the 1920s attempting to portray an Asian American. How on earth would we expect her to not be racist, given the time period she was living in? The ignorance back then was even more profound than it is now, and that ignorance is reflected in the character. As such, her character is not poking fun at Asians but making fun of the stereotypes and the attitudes of white people themselves. Ms. Meers is over the top in her racism because it is making fun of the racism. In addition, the actress who played her did copious amounts of research and went out of her way to accurately inform herself about Asian American culture, and then she attempted to portray something that was evidently wrong (in order to indirectly poke fun at how wrong it was). We must remember that this show was about 10 years ago, so it is looking at the 1920s through a modern, more refined lens.

In addition, questioning the production of Thoroughly Modern Millie is in itself questioning the arts. You ask why we cold not have put on a production about a “lighter subject.” What would be the point of that? What would the arts be if there was no controversy? What would we be dedicating our time to if all we did was get on stage and dance about under rainbows and pretend everything was happy in the world? The stage, the arts are a place to generate healthy controversy and discussion. They should not be censored, lest our society end up looking a bit like that of fahrenheit 451. Thoroughly Modern Millie brought up the conversation of Asian stereotypes. It can be a hard conversation. But I don’t think stereotypes should be cast away because they are politically incorrect. We have to come to acknowledge them, know that they exist, and then be able to make fun of them and say that they are dumb (which is what Millie does). Ultimately, I feel that we need to understand the role the arts have. Often the arts are controversial – even pieces of classical music were controversial in their day.

Lastly, I, as a Newton North student, resent the negative comments that have been made about the artistic administration at Newton North. I have never met more considerate and thoughtful people than those who work in the music and theater departments. They put every ounce of their being into their jobs, staying until 11 o’clock, 12 o’clock at night to work on the production. Everything that is done in the arts at Newton North is a result of countless hours of work, of discussion and consideration. Nothing is done carelessly. Our arts department puts up shows that have controversial topics because it wants to generate that discussion and bring up these topics in an educated fashion amongst the artistic community. And when Mr. Brown, who is one of the most admirable people I have met, says he is planning a talk back tonight, it is not simply for the sake of appeasing upset parents and dismissing concerns. He truly wants to hear people’s considerations and thoughts.

I hope that this long note might help sway some people’s opinions about the production. I know that, as someone who was a part of the production, it is deeply saddening and disappointing to see such a negative response, given all the hard work put in.

NNHS Student

In the comments From Talk Back: Racism in Thoroughly Modern Millie at NNHS

Yes but that’s part of the plot. And as I think has been made clear, is not something we had the power to change. When you put on a show the script is kinda set in stone… I get that that character is offensive but saying we used yellow face isn’t really true. We honored the script.

NNHS Student

In the comments From Talk Back: Racism in Thoroughly Modern Millie at NNHS

I go to NNHS right now. (I wasn’t a part of this show). I think it’s important to understand that this how was written for 1960s hollywood, and then adapted for the stage in the 2000s. The songs and the music are outstanding and the plot hilarious and has many twists and turns. I bet that’s why this show was chosen. It happens to have some very racist material in it yes, but no one is saying that’s okay. No one at north is saying that we can now be mean or racist to asians at our school. NNHS instead put on a great show full of talented actors who are heart broken and distressed to have hurt people. I think that next time if you have an issue about the show you should say something earlier on. 3 days before the show on a blog doesn’t give anyone time to do anything about your complaints. I go to NNHS and I can tell you right now no one is trying to cause anyone any pain or discrimination.

NNHS Student

In the comments From Talk Back: Racism in Thoroughly Modern Millie at NNHS

Pragmatic Mom, I’m going to start by saying that yellowface is never used in this production. The closest the show comes to using yellowface is the sterotypically Asian lipstick design worn by Ms. Meers. I personally know every actor and actress in this production and not one of them would allow that to happen. Now to address the article, you often say that things could be easily changed. That is incorrect. When putting on a production certain rules must be followed. For example, the inability to change lines and plot points freely. The rights for a production must be acquired before putting it on and the rights do not allow the script or plot to be changed to fit certain requests. I understand that the racism in this show is wrong and I believe that everyone in the Newton community does. I don’t think that there is a single person who would deny the racism in this show and if there is I certainly haven’t met them. That being said, why not change it if there is racism? For the reason I mentioned before, the musical cannot simply be changed. Thanks for reading and I hope that to some extent this relieves your rage at the Newton community that allowed this production and, if anything, direct it at the playwright or company producing it.

Charlie

Comment from My Take on Thoroughly Modern Millie

Hey Pragmatic Mom,

May I suggest that you concentrate your commentary on teenage pregnancy, drug abuse and suicide: instead of your perceptions of Asian racism. Perhaps some thought about priorities and what really is important to our children, would help you reconsider your current unnecessary opinions.

See Jay

Comment from Thoroughly Modern Millie at NNHS is Thoroughly Racist

If the “concerned parents” want to make sure this doesn’t happen again, they should voice their complaints before these kids spend months putting a show together rather than heavily criticizing their plays the week of the show and destroying their self esteems. NNHS did How to Succeed in Business Without Really Trying (a show that I was in) and I didn’t hear anyone complaining about how sexist that show was.

Harry Watson

Comment from Thoroughly Modern Millie at NNHS is Thoroughly Racist

These are all related posts on Thoroughly Modern Millie at Newton North High School:

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

These are other articles and posts related to Thoroughly Modern Millie at Newton North High School:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters(Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

p.p.s. Here are some related posts on my Asian American blog:

How Asian Americans Are Portrayed in U.S. Media. Who Should Be the Next Asian Old Spice Guy?

Asian Americans in Recurring TV Gigs

A Racist Bakesale Exposes Reverse Discrimination Against Asian Americans (I include this link because this is the real racist front that Asian Americans are currently fighting. All my posts on this topic are here.

Making us explain why Yellow Face is offensive is a waste of our time. I can’t believe this is still being used. In real life, has there ever been a white person pretending to be Asian? It’s only in the media and on the stage that this ridiculous premise exists.)

Survivor: Cook Islands Winner Yul Kwon and Why Media Portrayal of Asian Americans Matters

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 22, 2014
Boston Globe: ‘Millie’ flap highlights how old plays are rife with stereotypes

Small wonder, then, that Asian-American audiences would object to the crude ethnic cartoons in “Millie,’’ and that, more broadly, they would consider the choice between invisibility and insult to be unacceptable in this day and age.

In the aftermath of the Newton North controversy, it’s worth remembering that high school productions are frequently the first experience of theater that students receive: as performers, crew members, or spectators. In other words, high school is where the theater audiences of the future are forged.

‘Millie’ flap highlights how old plays are rife with stereotypes by Don Aucoin in today’s Boston Globe

But the concerns expressed in Newton before and after the performances of “Thoroughly Modern Millie’’ also deserve to be taken seriously. In part, the “Millie’’ imbroglio underscores the difficulty that even well-intentioned people confront when they tackle problematic source material.

Ethnic stereotyping is popular culture’s original sin, and it’s proving a hard one to shed.

Look no further than the uproar over last weekend’s production of “Thoroughly Modern Millie’’ at Newton North High School. A storm erupted on social media and community blogs about the musical’s depiction of three characters — two of them Chinese, one of them masquerading as Chinese — who kidnap young women and sell them as sex slaves. The director of the organization that staged “Millie’’ apologized at a community meeting Monday.

Having recently seen “Millie’’ in a different production at a Greater Boston high school where my daughter was in the cast, I must say that it’s hard to detect nuanced stereotype-busting in the show.

It was the latest loud collision between the past and the present, a frequent occurrence in theater as a dated canon meets an increasingly diverse population. The very plays and musicals that outwardly seem like a good fit for high schoolers — because of their tunefulness and large casts and overall buoyancy — are often the most problematic in their depictions of nonwhite characters.

The very plays and musicals that outwardly seem like a good fit for high schoolers — because of their tunefulness and large casts and overall buoyancy — are often the most problematic in their depictions of nonwhite characters.

Consider, for example, 1949’s “South Pacific,’’ which sends an earnest antiracism message undercut by the cringe-inducing, pidgin-English-speaking character of Bloody Mary. Or 1934’s “Anything Goes,’’ whose Chinese characters are naught but walking punch lines. Concerns about negative stereotypes of Puerto Ricans in 1957’s “West Side Story’’ have escalated in the past couple of decades. (Amherst High School canceled a scheduled student production in 1999.)

Read the rest of the article here.

… she [actress Jenna Lea Scott] remarks, tellingly and poignantly, that “among my reasons for pursuing an acting career was a desire to see myself represented on the stage.”

That’s a widespread desire among members of ethnic groups who for too long have been slighted or ignored: to see themselves represented on the stage and screen, accurately and fully.

It doesn’t seem like too much to ask.

These are all related posts on Thoroughly Modern Millie at Newton North High School:

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

These are other articles and posts related to Thoroughly Modern Millie at Newton North High School:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters(Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

p.p.s. Here are some related posts on my Asian American blog:

How Asian Americans Are Portrayed in U.S. Media. Who Should Be the Next Asian Old Spice Guy?

Asian Americans in Recurring TV Gigs

A Racist Bakesale Exposes Reverse Discrimination Against Asian Americans (I include this link because this is the real racist front that Asian Americans are currently fighting. All my posts on this topic are here.

Making us explain why Yellow Face is offensive is a waste of our time. I can’t believe this is still being used. In real life, has there ever been a white person pretending to be Asian? It’s only in the media and on the stage that this ridiculous premise exists.)

Survivor: Cook Islands Winner Yul Kwon and Why Media Portrayal of Asian Americans Matters

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 20, 2014
Talk Back: Racism in Thoroughly Modern Millie at NNHS
Thoroughly Modern Millie was offensive to me. White privilege denies me the right to feel the pain I experienced.

Whether you are white or a person of color, if you were not offended by the musical, you have no right to deny another’s pain. That’s my takeaway from the Talk Back.

Last night I reluctantly attended the Talk Back held at Newton North High School to discuss the stereotypes from the recent musical Thoroughly Modern Millie. Emotions were heightened as The Boston Globe was running a piece the next day and had spent an hour interviewing administrators at Newton North.

I did not want to go. This racist controversy was wearing on me. It is not even my personal bone to pick. I am a third generation Asian American and my children — ethnically Chinese, Japanese and Korean — have never experienced racism at all. This was not my cause.

I have actually spent the last year on a crusade to make available more multicultural books for children, even creating a special day for celebration this past January. And yet, maybe this is the same thing. Learning empathy from other voices through children’s books seems an effective way to combat the nascent racism in all of us and certainly bubbles under the surface of Newton as one insightful Newton North student who attended commented.

So, what exactly happened at the Talk Back? The NNHS administrators, Todd R. Young (Chair, NNHS FPA Department), Adam Brown (Director, Theatre Ink), Jennifer Price (Principal, NNHS), and Bradley Jensen (English Teacher and director and choreographer of Thoroughly Modern Millie) started it off by saying that they were here to listen.

The stories began as nearly 80 people in the room shared their perspectives.

“We do not program shows to reflect the diversity in our school. Frankly, I think we program shows to entertain our white audience.” A 17-year-old student at Newton North High School who is part of Theatre Ink

“Our son made the difficult decision not to do the show because he could not invite his grandparents, my parents, [who are Chinese American and speak with an accent] to come and see this show. … He felt like he couldn’t participate. Who else was excluded?” Jenny Chou, mother of Newton North High School Theatre Ink Sophomore

“I was really offended yesterday [her voice breaks and she is in tears]. And I read the program notes and what it said to me was there are some really bad stereotypes in here but we made it a teachable moment and everybody learned a lot so it’s ok. And it’s not ok. Teachable moments should be planned. They should not be reactions to something that someone else pointed out because that what it feels like to me.

…

This was not one of those planned teachable moments. It’s not the message that I want my Asian American kids to hear that just because we learn about the issue that we can still do it. My father was an Asian American immigrant who was made fun of all the time for his accent and was never given any respect and was considered stupid until they found out that he was a doctor.

…

I hope this dialogue leads to action and not just to more talk and appreciation that we learned a lot more.”

Joy Bautista, Academic Dean and Science Teacher at Boston Arts Academy

“This is a play that — I have no other way to say it — at its heart, in its DNA is deeply, deeply racist. Ignorant. There are stereotypes. You have the names Ching Ho, Bun Foo. Those aren’t actual Chinese names. What you have is a sort of a White American concept of what Chinese and Asians are meant to be and it’s there, laid out, for entertainment value.” Charlene Beh, English Teacher at Newton North High School and Co-Advisor to Thoroughly Modern Millie

“I chose to move here from Hawaii and to work here and live in Newton when it could be so much easier for me as an Asian American to live out West where people don’t question my experience as painful when I experience racism, little and big.

…

To have people doubt the pain that I experience, that has been another thing that has been hard about all this stuff. Not intended at all, but it’s happened where I’ve had to have conversations with staff members who doubted the racism and pain that exists in the play.”

Michele Leong, English Teacher and Director of the Office Human Rights at Newton North High School and Co-Advisor of the Asian Culture Club and Thoroughly Modern Millie

[This is her response to White privilege Husband who was texting and failed to listen to Michele Leong and therefore wasn’t able to respond to her.]

Michele continues …

“Acknowledge and respect that our pain is real whether we are Asian or not. I know that I have many allies in this room who experienced the same pain and I ask that you all hear that.”

“[You did not make more changes] Because you are afraid someone is going to sue you [for changing the script]? And instead what happens? You have offended me. You have offended her. You have offended everybody in here. You had a teaching moment for how many nights that you performed? You think that disclaimer was going to be good enough? NO! For all this talk about doing an anti-bullying curriculum. What have you just committed? You have bullied a whole community just like that.” Andrew Leong

“Telling Asian and Asian Americans that their anger is inappropriate or that art someone trumps the validity of their feelings is an indicator how deeply socialized White Supremacy is within us. … I was concerned about the letter that went out that said “for some this will still not be enough.” But I think that if it’s not enough for some in the community, then it shouldn’t be enough for Newton North and it shouldn’t be enough for Theatre Ink. And I was really concerned about that.

….

I know that Theatre Ink thinks of itself as a professional company and that’s great but that doesn’t that mean that because there are Broadway shows that are more racist than Thoroughly Modern Millie that it’s ok to do Thoroughly Modern Millie.

…

There is a huge problem with casting and that fact that there was a white student — and I know that Ezra is a great actor — but that doesn’t mean that it’s ok for him to be cast as an Asian man. And there was nothing that went out about yellowface. What does it mean when the only roles for Asian students are these really stereotypical, demeaning, hurtful things? And what does it say when Asian students aren’t even given a chance to be in those roles?”

Aviva, a Newton North High School Student

“As a person of color, when white people say “don’t be angry,” it’s one just one more way to offend. It’s one more way to put down. It’s one more way to diminish the power and the truth of what is being said.” Cynthia Silva Parker

“To me it’s disappointing because we’re talking about having all these anti-bullying sessions and then the actions that the school takes by having a play like this … it’s all a lie. The actions don’t back up what the talk is. That’s disappointing to me. How can you teach kids by just talking and not showing?” Archana Szpak, parent of two kids in Newton Schools

“Art tackling stereotypical representations and using that as a point of humor. When you thinking largely about the production as it was put on these past couple of days, to me there was an element about those moments of humor within the context of an audience that was predominantly white, within a cast that was also predominantly white, and feeling that the humor felt uncomfortable and spurred deep feelings of anger, of just general discomfort, because it seemed that the representations that you saw — which in actuality they were — lacked nuance and depth of experience.

…

A musical for a variety of reasons did not have a lot diverse representation so a lot of the notes around humor felt as those they were pointed and that was the larger idea around why so much discomfort was felt. I always say this to my students, when you are having a discussion about race and about stereotypes, I think it’s important to feel uncomfortable. Honestly, I don’t think you are doing the discussion right if you are feeling comfortable.” Ariel Roshlan, a first year teacher in Newton who teaches Social Studies to 10th and 11th grade and a person of color

The hurt and anger were palpable. As well, the white privilege man to my near right. I will refer to him at White Privilege Man.

A man in his late 50s were there to protest the protest he told me. As Asian Americans in the room shared their heartfelt stories of how this musical hurt them, White Privilege Man to my right made snorting, derisive noises. My husband called him out, asking him to speak up as he clearly did not agree with the Asians in the room. His point was that there were racist stereotypes in a lot of musicals and works of literature and that this was ok. When Michele Leong responded, she waited for him to reply. There was a long pause.

Why? He had been texting on his phone the entire time, not listening and not realizing that, in fact, this Michele was speaking to him.

That’s so telling isn’t it? So illustrative of the conflict between an Asian American trying to voice her feelings of not being heard and validated while While Privilege Husband snorted and texted away, not listening, not caring, not learning anything that night. And while I personally found this behavior offensive, he was an important reminder of the racism that exists in our community that takes a stubborn hold and is difficult to diminish. It won’t go away with just one night of sharing our feelings either — that much was clear!

Thankfully, the Newton North teachers and administrators were a completely different story. They truly listened, painfully, and heard, painfully, what we of color had to say. That this was bullying all over again. That this hurt us. That some rising freshman of Asian descent were now nervous to come to NNHS (breaking the heart of principal Jennifer Price).

That a grandfather and grandmother could not come to see their grandson perform because he elected not to try out for fear of subjecting them to painful racism.

An elderly Asian American man who was likely a grandfather himself made this point, “So the grandparents could not see their grandson perform.”

And then there was deadly silence as we all felt the shame, the sadness and the tragedy that could have been so easily been avoided.

Newton North teachers were brave to lend their voices about how this play and their participation made them feel uncomfortable and marginalized.

Newton North students asked why:
- In the letter from NNHS, they asked why is ok for it not to be enough? “We do apologize for the impact that this has caused and may cause members of our community. Even with these steps in place, we acknowledge that for some it may not be enough.” No, they said. We expect more from Newton North. Make it enough.
- They asked why aren’t more Asian Americans on staff as teachers and administrators at Newton North?
- Why aren’t students of color in leadership roles at Theatre Ink?
- Why can’t all students take a Leadership Class led by Michele Leong that teaches racism in order to break it down.
As each person told their story of disappointment in Newton North, of the hurt that they caused, of the pain that they felt, the emotions felt overwhelming at times. It was not surprising to see people break down in tears.

But when Adam Brown bravely said, “I’m sorry, I am so, so sorry you are feeling the anger you are feeling. We blew it. I’m sorry,” the clouds parted. He had heard us. Truly heard us. And he wasn’t making any excuses or spouting any rhetoric.

From there, the group came together. We felt validated for expressing our point of view. We felt heard. We knew we could work together and that changes, really wonderful and positive changes, were going to result from this. (Hopefully!) It felt great. We feel grateful to everyone in that room including White Privilege Man.

On the stage of life, we all have roles to play and in seeing and really hearing each other, we can make something truly great. And that is the essence of Newton North High School and living in a town like Newton.

I am so very proud of my community — students, NNHS alumni, parents, teachers, administrators, community members who are not even at NNHS, alderwoman, Asian American activists, neighbors and friends — on this day. For coming out. For speaking up. For listening. And most importantly, for the willingness to learn and grow. I am so grateful to you all for coming to my blog and attending the Talk Back. For engaging. For caring. For making our corner of the world just a little better. Thank you so much. I can not tell you what this means to me.

p.s. I taped half of the Talk Back (until my phone ran out of space). I have posted it privately on my YouTube account. If you would like to give me permission to make your portion of the video public, please contact me and I will add the video to this post. The quotes were all taken from video transcription. (Clearly, I don’t have Millie’s stenography skills!)

Thoroughly Modern Millie Talk Back Videos

One way to use this Talk Back as a teachable moment is to have students or audience members read the quotes and the compare it to the video of the exact same words. You will notice, as I have, how more affecting the video is compared to the words on the page. It’s because the video conveys the deep emotions in a way that the written word simply can not.

p.p.s. Our neighboring town, Brookline, put on Thoroughly Modern Millie a few weeks ago. There was no murmur of dissent there. Why? They had, on their own, and without pushback from parents, rewritten the musical. I do not know if they did this under the radar or in conjunction with MTI who sells the script. They made Mrs. Meers a Southerner and the two Chinese brothers undercover cops.

Brookline has a 18% Asian population. Newton has 11%. Does this 7% make all the difference? Why would Newton react differently to the racism in Thoroughly Modern Millie than our neighbor? What do you think?

Brookline High School performed its own revised version last month.

“I felt strongly the script was disrespectful,” said the Brookline director, Christien Polos. He and students rewrote the part of Mrs. Meers to change her from Chinese to Southern American and turned the two Chinese laundrymen into undercover police officers. From The Boston Globe

Related Links:

Thoroughly Modern Millie is Thoroughly Racist

NNHS Responds to Concerns About Thoroughly Modern Millie

My Take on Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

More links:

The Boston Globe: School play’s stereotypes bring outcry and apology. “Millie” touches nerve in Newton by Ellen Ishkanian, Globe Correspondent

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters (Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.
March 19, 2014
The Boston Globe Weighs in on Thoroughly Modern Millie

“When the movie starring Julie Andrews premiered in 1967, it was proclaimed “thoroughly delightful” by The New York Times and praised for its flapper costumes, dancing, humor, and singing.

Forty-seven years later, a stage version of “Thoroughly Modern Millie” performed at Newton North High School is triggering a backlash from some Asian-Americans who say the musical’s racial stereotypes are hurtful and unacceptable.

“We would never do anything anti-Jewish, or anti-African-American. Blackface is unthinkable, but yellowface is utterly fine,” said Newton resident Mia Wenjen, whose Pragmatic Mom blog brought attention to the debate.

At a community meeting in Newton Monday night, the theater director apologized. “I’m sorry, I am so, so sorry you are feeling the anger you are feeling,” said Adam Brown, director of Theatre Ink, which staged the play over the weekend. “We blew it. I’m sorry.”” The Boston Globe

The rest of the story is here.

My Posts:

Thoroughly Modern Millie is Thoroughly Racist

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Other Links:

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massa chusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14

AsAmNews: Boston.Com: Play Filled With Offensive Images Sparks Town Hall Meeting

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters (Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

March 18, 2014
MTI Advises How to Squelch Dissent for Thoroughly Modern Millie

I’m getting concerns from parents…..ugh.

What exactly are their concerns or comments?

Oh, there are Chinese members of the potential cast. AND in that the white slavery was sex related seems to be a lot of over sensitivity to a topic that is such a minor plot point. However, I squelched it by citing other shows and those controversial topics….. I mean, come on.

Your technique of citing other shows is exactly what I was going to suggest. History has always been the “go to” explanation.

A tremendous number of shows have significant historical references that we do not condone in any setting, yet it contributes to the plot point and story line sometimes with humor.

From MTI, the company that sells THOROUGHLY MODERN MILLIE

MTI offers via a forum to help high school directors put on the show. You use a form to ask a question and the community answers it. Cindy Ripley answers all the questions so I assume she works for MTI.

As you can see from the forum that the questions tend to be operational. Where do I buy the big laundry carts? Which logo do I use? But then the first question is How Do I Handle White Slavery Because Parents are Giving Me a Hard Time About It? Their advise is disturbing.

It disturbs me that MTI which sells Thoroughly Modern Millie is giving advice to high school directors on how to handle racism in the play. They are not encouraging an open dialogue instead they use words such as “squelch” and “over sensitivity” and are dismissive of complaints by Asian parents.

Read for yourself and tell me what you think.

charles apple:How do I approach the subject of white slavery with the cast? I’m getting concerns from parents…..ugh.
(52 days ago)

Rebecca Levy:Did it two years ago and it never came up. What exactly are their concerns or comments?

(52 days ago)

charles apple:Oh, there are Chinese members of the potential cast. AND in that the white slavery was sex related seems to be a lot of over sensitivity to a topic that is such a minor plot point. However, I squelched it by citing other shows and those controversial topics….. I mean, come on. However, I will apporach the topic withthe cast and parents and guarantee that they understand the topic, what it means and that we NEVER go into it to any degree. I don’t even know if the audience would catch the poing of white slavery if we didn’t point it out directly.(51 days ago)

Cindy Ripley:Charles, Your technique of citing other shows is exactly what I was going to suggest. We sometimes get similar concerns about the gambling in “Guys and Dolls” etc. History has always been the “go to” explanation. A tremendous number of shows have significant historical references that we do not condone in any setting, yet it contributes to the plot point and story line sometimes with humor. Anxious to see how it settles out. So important to discuss it with your kids if it is indeed a question.

Charles Apple runs Apple Creative Theatre in Winchester, Virginia. Apple Creative Theater is a non-school, non-religious affiliated theater designed to provide youth musicals, plays and entertainment for the entire community. Thoroughly Modern Millie will run from 4/4/2014 to 4/12/2014.

To contact Charles Apple, here is his info:

Apple Creative Theater Rehearsal Hall

207 Flanagan Drive, Winchester, VA 22602

Phone Number: (540) 907-4707

Cindy Ripley’s Biography

Cindy Ripley, a nationally recognized educational consultant, is known for her hands-on and high-energy approach to make musical theater come alive for teachers and students alike. Seemingly everywhere, Cindy wears a multitude of hats. She can be found advising a teacher in Thailand about costume ideas for “Guys and Dolls Jr.” on MTI Showspace, piloting and writing new educational materials with kids as the Master Teacher of iTheatrics in NYC, presenting teacher intensive workshops around the country, developing the “Make A Musical” training for underserved schools in the NBC SMASH initiative as well as the president’s commission on the arts, or consulting with principals and teachers at National Education Conferences about unifying their communities using musical theater as the vehicle.

Cindy combines 33 years of experience as a music educator in the classroom and on the stage with boundless enthusiasm and unparalleled expertise. She understands all aspects of successful team building: kids of all ages, the first year teacher to the veteran director, parents, community organizations and administrators. Equally at home coaching the 10-year-old lead in “Cinderella” as presenting at the Kennedy Center, Cindy’s reputation is singular in scope and dimension.

Cindy fervently believes that all individuals are inherently creative. Her passion for excellence is her trademark as she celebrates the spirit within all of us.

When she is not in NYC, she maintains a busy road schedule, crisscrossing the country as she conducts teacher intensive and student workshops, adjudicates regional and national theater and choral festivals, and represents iTheatrics and Music Theatre International at a myriad of state and national conferences.

The success of the Broadway Jr. series led to a partnership with MacMillan/McGraw-Hill. Cindy became a contributing author, creating the musical theater curriculum for grades one through eight for the “Spotlight on Music” textbook. This text advocates the repositioning of the study of American musical theater from an extra curricular activity to that of core curriculum focus.

She is a MTI Showspace show support consultant, giving advice to teachers on all aspects of production from costumes to fundraising for Broadway Jr. and MTI Kids shows, Consultant for national and state conferences including: MENC, TETA, TMEA, NYSSMA, NAESP, NMSA.

Cindy’s achievements received national attention when she was selected as one of thirty-nine educators nationwide to be named to USA Today’s 2005 All-Star Teacher Team.

She can be reached at 164 Union Street, Hamburg, NY 14075

pianocar88@mac.com
showsupport@mac.com
www.mtishowspace.com
www.iTheatrics.com
716.983.8693

———————-

Let’s summarize the historical references:

1) White Slavery

The fierce anger against “white slavery” caused racial profiling of Arabs in Europe and Chinese immigrants in America. While there were some examples of Chinese mafia members engaging in human trafficking during the 1920′s, the sad distortion is that in actuality, many more Asian women and children were and still are trafficked from China and other Asian countries to the United States.

From The Marginalized

2) Bun Foo and Ching Ho trying immigrate their mother from Hong Kong versus The Chinese Exclusion Act

For all practical purposes, the Chinese Exclusion Act, along with the restrictions that followed it, froze the Chinese community in place in 1882. Limited immigration from China continued until the repeal of the Chinese Exclusion Act in 1943.

The Chinese Exclusion Act was the first federal law to restrict the immigration of a specific group based on nationality, and defined in legal terms who could not “become American.” While European immigration surged, Chinese exclusion was extended indefinitely in 1904. It would be another 39 years before the Act would be repealed.

The Chinese were legally categorized as “aliens ineligible for citizenship” — that is, perpetual foreigners. Although the language wasn’t explicitly racial, the term was applied only to Chinese (and later other Asian) immigrants, effectively defining the color line among immigrants by extending “whiteness” to Europeans and opening the door for anti-Asian laws.

“This is a play that — I have no other way to say it — at its heart, in its DNA is deeply, deeply racist. Ignorant. There are stereotypes. You have the names Ching Ho, Bun Foo. Those aren’t actual Chinese names. What you have is a sort of a White American concept of what Chinese and Asians are meant to be and it’s there, laid out, for entertainment value.” Charlene Beh, English Teacher at Newton North High School and Co-Advisor to Thoroughly Modern Millie

3) Miss Dorothy Brown Choosing Ching Ho vs. The Cable Act

Cable Act

The Cable Act decrees that any American woman who marries “an alien ineligible for citizenship shall cease to be a citizen of the United States.”

The Cable Act of 1922 (ch. 411, 42 Stat. 1021, “Married Women’s Independent Nationality Act”) is a United States federal law that reversed former immigration laws regarding marriage, also known as the Married Women’s Citizenship Act or the Women’s Citizenship Act. Previously, a woman lost her U.S citizenship if she married a foreign man, since she assumed the citizenship of her husband—a law that did not apply to men who married foreign women.

Former immigration laws prior to 1922 did not make reference to the alien husband’s race. However, The Cable Act of 1922 guaranteed independent female citizenship only to women who were married to “alien[s] eligible to naturalization”. At the time of the law’s passage, Asian aliens were not considered to be racially eligible for U.S. citizenship. As such, the Cable Act only partially reversed previous policies, allowing women to retain their U.S. citizenship after marrying a foreigner who was not Asian. Thus, even after the Cable Act become effective, any woman who married an Asian alien lost her U.S. citizenship, just as she would have under the previous law.

And why are Ching Ho and Bun Fo not arrested along with Mrs. Meers? They are accessories to kidnapping or worse, actually, having actually committed multiple kidnapping crimes. Is it historically accurate that a New York City socialite would marry a Chinese National who has committed multiple crimes?

Is it historically accurate that Chinese Nationals who lived in the United States would commit crimes to solve their immigration issues?

4) Mrs. Meers Pretending to be Chinese in Order to Escape Arrest

In the 1920s, 2002 or 2014, let’s be clear that white people do not attempt to look and act Asian as part of a disguise by adopting ethnic dress and speaking in a thick accent as if English is their second language.

Actual Mugshots of 1920s Criminals. None are Disguised as Asian

I have searched for 1920s mugshots to see if, in fact, it is historically accurate that criminals at the time disguised themselves as Asian to evade arrest. You might want to note that even Asian criminals from the time adopted Western dress.

Here’s some of female criminals from the 1920s. Again, no one appears to be caught while dressed as a Dragon Lady.

If someone can find me a mugshot from the 1920s of a white person disguised as Asian in a mugshot, please send it to me and I will post it.

Let’s also talk about speaking English with an accent and acknowledge that when English is spoken with a European accent such as British or Scandinavian, it’s considered charming and the person intelligent. When English is spoken with an Asian accent, it is “funny” and the speaker is thought to be stupid.

I cite: Speakers With a Foreign Accent Are Perceived as Less Credible

Accent Stereotyping and Prejudice

Heaven is where the police are British, the cooks are French, the mechanics German, the lovers Italian, and it is all organized by the Swiss. Hell is where the chefs are British, the mechanics French, the lover’s Swiss, the police German, and it is all organized by the Italians.

Stereotypes refer to specific characteristics, traits, and roles that a group and its members are believed to possess. Stereotypes can be both positive and negative, although negative are more common. The joke above illustrates both. Stereotypes also influence people process and retrieve information. For example, when we meet a man from France, we may make assumptions that he is a great cook, but not a good mechanic, simply because he is from France. He indeed might be a good cook and a bad mechanic, but we do not know that, he could be a terrible cook and a great mechanic, good or bad at both, or simply average.

Stereotypes sometimes result in prejudice, which means having negative attitudes toward a group and its members, which may be based on stereotypic beliefs about the group. Throughout history, various groups have experienced prejudice, and unfortunately, prejudice is still very much part of our lives. Non-native speakers often have to deal with both negative stereotypes and prejudice resulting from speaking with an accent. Decades of research have shown that accents are associated with a range of negative stereotypes and attitudes. On average, native speakers find non-native speakers less intelligent, less competent, less educated, having poor English skills, and unpleasant to listen to. Stereotypical portrayals of accents are also common in the media (see Accents in the Media). People with stronger accents are judged even harsher and native speakers who have trouble understanding accented speech may experience negative feelings toward non-native speakers for refusing to learn to speak the language “properly.” An accent also marks the speaker as an immigrant and immigrants as a group have frequently experienced prejudice from native speakers. From Human Accents

Is it historically accurate that Mrs. Meers adopt a Chinese accent in the 1920s when she attempts to evade the police. No.

Does portraying Mrs. Meers as Chinese break down dangerous stereotypes and start important conversations about racism? No. She is not even portrayed in a stereotype of the four presented: Geisha, Overtly Sexualized Dragon Lady, Submissive or Kung-Foo Warrior.

Here’s the description for Mrs. Meers in the pack from Theatre Ink:

MRS. MEERS

A former actress turned human trafficker pretending to be a kindly Chinese woman. She oversees the Hotel Priscilla where
she secretly sells her tenants.

Strong Singer/ Dancer/ Comedian/Female, 45-55 yrs old (Alto – E3 to Bb4)

Was this for humor? Is a thick Chinese accent funny in and of itself? You tell me.

Comic Pastiche

“The secret mechanism of a pastiche is the fact that a style is not just a unique set of linguistic operations: a style is not just a prose style. A style is also a quality of vision. It is also its subject matter. A pastiche transfers the prose style to a new content (while parody transfers the prose style to an inadmissible and scandalous content): it is therefore a way of testing out the limits of a style.”

(Adam Thirlwell, The Delighted States. Farrar, Straus and Giroux, 2007)

p.s. You might note that never once does MTI state that Thoroughly Modern Millie is for “busting offensive Anti-Asian stereotypes”.

p.p.s. The Boston Globe plans to run a piece on the Newton North High School production of Thoroughly Modern Millie this Tuesday. The reporter attended Saturday night’s performance. I will add the link.

Related Links:

Thoroughly Modern Millie is Thoroughly Racist

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters (Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.

March 16, 2014
My Take on Thoroughly Modern Millie
I just returned from Thoroughly Modern Millie and I want to start by saying that the cast is incredibly talented and deserves much accolades for a well done show. The leads, particularly Maddy Waters as Millie Dillmont, Aiden O’Neal as Miss Dorothy Brown, Peter Diamond as Jimmy Smith, Kelsey Fox as Mrs. Meers and Will Champion as Trevor, Graydon III, are particular standouts. They carry the show with their considerable musical talent, acting skills and comedic timing. I also thought the dance numbers were outstanding, the sets impressive and the costumes breathtaking. I can see the allure of this show from the costumes alone.

That being said, I have considerable issues with the Asian stereotypes in the show.

1) There Really is No Reason Why Mrs. Meers Needs to Pretend to be Chinese Except for Gratuitous Humor

[plot spoiler warning] Mrs. Meers is a criminal hiding out so she pretends to be Chinese as her “greatest acting role” and speaks with a strong Chinese accent. As someone in hiding, it is an easy change to make Mrs. Meers a different kind of character. For example, a Southern Blonde is she is supposed to be a brunette in real life.

In real life, no one I know takes a new identity to hide out in which a white person pretends to be Asian. It’s not realistic. It’s insulting to Asians. It’s certainly comedic because it’s easy to laugh at a Chinese accent where English is not your first language and therein the comedy lies. It’s easy to laugh at an Asian stereotype.

But it’s not necessarily to the storyline and could have been easily changed.

Yellowface: Asians have not always been accurately represented in Hollywood. Many times, Asian characters have been portrayed predominantly by white actors, often while artificially changing their looks with makeup in order to approximate East Asian facial characteristics, a practice known as yellowface. Media portrayals of East Asians in the American media’s history have predominantly reflected a dominant Americentric perception rather than realistic and authentic depictions of true cultures, customs and behaviors.

And by contrast:

Blackface is a form of theatrical makeup used by white performers to represent a black person. It is often considered offensive, because it can imply stereotyped caricature of black people as in minstrel shows, and later vaudeville. The practice gained popularity during the 19th century and contributed to the proliferation of stereotypes such as the “happy-go-lucky darky on the plantation” or the “dandified coon”.

Blackface was an important performance tradition in the American theater for roughly 100 years beginning around 1830. It quickly became popular elsewhere, particularly so in Britain, where the tradition lasted longer than in the US, occurring on primetime TV as late as 1978 (The Black and White Minstrel Show) and 1981.

By the mid-20th century, changing attitudes about race and racism effectively ended the prominence of blackface makeup used in performance in the U.S. and elsewhere. It remains in relatively limited use as a theatrical device and is more commonly used today as social commentary or satire.

I think it’s an easy logical conclusion:

Blackface is offensive …

therefore

Yellowface is offensive.

But because I had multiple conversations with parents who tried to explain that Mrs. Meers is a very wicked villain and she gets her just deserts in the end so her doing yellowface is acceptable and plus she’s so funny that I think it bears repeating:

Blackface is not ok …

therefore

Yellowface IS NOT OK!

It seems that Yellowface is still acceptable in the year 2014!

2) The plot does not have to revolve around Asian Males Who Assist in Selling White Females Into Slavery

[plot spoiler alert] It actually makes more sense to have a kidnapping theme, particularly since Miss Dorothy Brown could easily be held for ransom.

3) Ching Ho and Bun Foo Don’t Have to be Poor Chinese Immigrants Either

I don’t understand why they have to speak in Cantonese while singing in Mandarin either. Is this supposed to show how the playwrights have such insight into Asian culture?

This is a sub plot line and could have easily been removed. If you need henchman or henchwomen, it is an easy fix not to cast them as Asian stereotypes.

And I feel that it has already been covered in considerable detail my issues with the historical inaccuracies of the plot line.

And there was no discussion to educate the audience on busting stereotypes beyond this page in the program and a gratuitous meeting on Monday night where any peeved parties (e.g. Asian Americans) can air their grievances.

This is the page in the program:

Asian Stereotypes in Thoroughly Modern Millie

I know we had a problem when I wanted to preface this production with: “The opinions expressed in this musical do not necessarily reflect the views of Newton North High School.” We’ve all seen the classic television disclaimer alerting the audience that controversial, and even offensive attitudes remain present within the program. Without question, Thoroughly Modern Millie contains extreme negative stereotypes and offensive attitudes when depicting Asian men and women in the 1920s. However, instead of simply flashing a disclaimer along the stage before the opening number, Mr. Brown, Ms. Leong, Ms. Beh, and I worked together with the Office of Human Rights to figure out a way in which to maintain the integrity of the production, while addressing these negative images head on with the community and our students. Over the past few months we have participated in discussions regarding stereotypical images of Asian men and women in the media. We participated in panels that spoke out against stereotypes and damaging images of cultural experiences within the media. We learned about the Geisha image, and the overtly sexualized Dragon Lady. We learned about the submissive Asian male stereotype, and the Kung-Foo warrior image. Consequently, some of these images will appear within our production this evening, such as Mrs. Meers’ portrayal of the Geisha Girl, as well as Bun Foo and Ching Ho’s sometimes submissive male natures. Our hope is that awareness around these caricatures would allow us to dig deeper in rehearsals and find the true, human complexities of these previously flattened characters.

While we set out to find the authentic human complexity behind the Cantonese speaking Bun Foo and Ching Ho, we also addressed the wildly offensive Mrs. Meers and discussed the potential reasons for her racism. Mrs. Meers must be understood as the villain of the production. She is a racist and covers her own insecurities and life failures with hateful attitudes and behaviors. As director, I am extremely proud of the socially conscious work that our cast and community have carried out over these past few months. I believe that doing this production, the cast, crew and school community have become aware of the dangerous images within Thoroughly Modern Millie, and the lack of truthful portrayals of Asian and Asian-American men and women within the media today. I encourage you to continue this necessary dialogue at home with your families, using our musical as an effective conversation starter.

So please be advised, “The opinions expressed in this musical do not necessarily reflect the views of Newton North High School … in fact they strongly oppose the beliefs and attitudes found within our school culture. Furthermore, we have worked hard to analyze and revise these images in order to align them with our socially conscious mission of acceptance and open-mindedness.”

My Response

First I would like to post an excerpt from an email and hope to get permission to post it in its entirety:

“Asian American faculty members at Newton and the AACC have been trying to tell the director of Theater Ink, the chair of the department of Performing Arts and the principal how offensive the play is since it was first announced. They’ve made some slight changes but they still don’t get why it’s offensive and there’s no telling what the actual performances will be like.

…

THanks so much again for speaking up against this. [Asian American faculty members and students] have been feeling shut out and dismissed so voices from the community really help a lot. (The school officials still may not get why it’s bad, but they’ll understand bad PR and bad press, so please keep it up. I look forward to reading a review of the performance if you are able to go.)”

The Anti-Asian stereotypes by which you speak of do not exist in modern media: Geisha Image, Dragon Lady, Submissive Asian Male, and Kung-Foo warrior image to the extend that they offend Asian Americans. The issues of Asian Americans in media is much more subtle that.

If I may direct you to my post titled: Asian American Actors in Recurring TV Roles you will note that Asian Americans get parts that are in a very specific box: The Doctor, With a Martial Art Slant, The Beautiful Ones, Playing Regular People, Intergalactic, Comedians, Heroes on Heroes, Reality TV, and the Pioneers.

Going back several decades in TV, your concerns about Geisha Image, Dragon Lady, Submissive Asian Male, and Kung-Foo warrior image that you worry plague us Asian Americans simply are not a reality. They are not our reality.

But this is what our reality is. Asian Americans NEVER GET THE LEAD.

And you furthermore underscore this message — e.g. Asian Americans Never Get the Lead — by producing a show in which the roles for Asians are, again, in a very specific box and in a supporting role. And include outdated negative stereotypes that we thought we were through with to boot. So, in doing this show, instead of creating a meaningful and helpful racial conversation that is relevant to Asian Americans today, you simply dredge up old stereotypes and reintroduce them to the community.

Yes, it’s funny to laugh as a Chinese accent. And yes, you will hear Chinese accents in our community both in the student population and otherwise. It’s your choice to bring this comedic relief to light and it is offensive and unnecessary. It does not, as you suggest, start up meaningful dialogue that enlightens non Asians and helps Asian Americans. We don’t need that kind of help, thank you very much! In the same vein, we don’t need your “help” via Affirmative Action for college admissions either. And the broader conversation is why Asian Americans are denied a seat in the boardroom, assigned a cap on admission to top colleges and never get the lead. A more robust conversation would be around why this is so and I believe the root cause is this: Asian Americans are too successful and it’s resented.

Your misguided perceptions of where the issues lie demonstrates the deafness in which you hear the Asian Community speak to you. This concerns me deeply.

Hiroki Shibuya is an immensely talented actor and I’m sure you would agree. But you would have never cast him as the lead, Jimmy Smith. That was meant for a white man. Or Trevor Graydon III which was frankly the best, most complex character in the script for a male. Shibuya’s choices were very limited as an actor in this musical. He had to stay in his box. Ching Ho and Bun Foo. Isn’t that right?’

For example, instead of rewriting the part of Bun Foo from that of an Asian into the part of a Caucasian, you could have done the same for the part of Miss Dorothy Brown and made her a person of color or in hajib to the same comedic effect. In fact, it would have made for a more interesting and thought-provoking musical to cast Miss Dorothy Brown in hajib.

While there were a few people of color in the musical, they were relegated to the chorus. There was, for example, no role for an Asian American female speaking part in this show. So for all the rhetoric of busting the Geisha Image and the Dragon Lady, these roles were meant for non-Asians. How ironic that your stereotype busting includes casting these stereotypes with non Asians.

That is exactly the issue that Asian American actors face today in the real world outside of Newton North but we do appreciate you demonstrating this box to us by putting on this production. And this is where the meat of the discussion that WE as Asian Americans want to talk about. Why the box? Why the limitations? Why never the lead?

In conclusion, your promises for a deep and rich conversation to “bust stereotypes” is empty rhetoric. We recognize this game too. This attempt to placate Asian Americans. This expectation for us to be invisible, voiceless and non-confrontational.

I fully realize that by posting on the racism and issues I have with Thoroughly Modern Millie that there will be payback to me and my family as we enter Newton North High School next year. It will be subtle. That much I know well. It will come in many forms. My children will pay for my speaking out. I realize this and I am willing to pay that price because by not speaking out, nothing ever changes. I have spoken to many Asian American friends in this community and while they also are unhappy with the racism in this production, they are afraid to speak up for fear of reprisal. I hope the NNHS community hears that. You have not created a safe forum to express dissent it seems.

This play will continue to be performed in high schools across the country with empty disclaimers such as the one you have written. And maybe there will continue to be invitations to discuss: Geisha Image, Dragon Lady, Submissive Asian Male, and Kung-Foo warrior image. Discussions that are outdated, irrelevant and demonstrate how little our issues as Asian Americans are understood, addressed or taken seriously.

Thank you for revealing your hand. It’s been quite eye-opening.

I won’t be attending your Monday evening meeting. My response is here and you are all welcome to respond. In this way, our conversation is captured and indexed onto Google and not hidden behind a door in Newton North High School’s Little Theatre. I am frankly a little tired talking about The Geisha Image, The Overtly Sexualized Dragon Lady, The Submissive Asian Male Stereotype and the Kung-Foo Warrior Image.

I need to get back to the real world, not this 1920s world that is irrelevant to me and my issues as an Asian American. I assure you that these negative stereotypes do not plague me in my daily life. It’s only when you bring it up. I think the real question is why NNHS powers that be didn’t listen when objections — the same as mine — were addressed earlier. We brought up the same issues and the problems could have been resolved in a much stronger and less controversial show.

I apologize for the timing of my posts close to the show’s opening. I only learned about this show and the Anti-Asian slant last Saturday or I would have brought this up earlier. It was not my intention to take away from the members of the cast, crew or teachers who worked so hard on this show. In fact, it’s incredibly frustrating to me that these issues were brought up earlier in a timely manner and largely dismissed.

Reactions on Twitter to Racism in Thoroughly Modern Millie

Arissa Oh ‏@arissaoh  12h

@pragmaticmom that page in the program – the “disclaimer” – is complete and utter crap.

Arissa Oh ‏@arissaoh  Mar 14

‘mainly, we forgot that Asian people exist, might know English, & might object to racist stereotypes about them. Oops! SORRY (not sorry)’

Arissa Oh ‏@arissaoh  Mar 14

> now you’re going to do a #sorrynotsorry racist show, Newton North High School?

Chris Lehmann ‏@chrislehmann  12h

@pragmaticmom ugh. As a school leader, I am so frustrated by the school’s reaction.
Arissa Oh ‏@arissaoh  Mar 14

Newton North HS (MA) is staging racist “Thoroughly Modern Millie,” doesn’t care if you’re offended https://ilovenewton.com/nnhs-responds-concerns-modern-millie/ … via @JadeLuckClub

Arissa Oh ‏@arissaoh  Mar 14

‘we have heard your concerns & have educated ppl abt the stereotypes but we’re going fwd w/ the production anyway’ say smug white people

Arissa Oh ‏@arissaoh  Mar 14

‘we got some Asian staff to talk to some ppl & there’s going to be a disclaimer in the program, so’ say the smug white ppl

Arissa Oh ‏@arissaoh  Mar 14

Newton, MA is affluent suburb of Boston, 83.7% wh, 12% Asian, 1.5% Blk. Newton North HS is 76.9% wh, 8% Asian, 5.2 % Blk, 5.1% Latino

Arissa Oh ‏@arissaoh  Mar 14

“Filled with frisky flappers, dashing leading men and a dragon-lady of a villainess audiences will love to hate, THOROUGHLY MODERN MILLIE >

Arissa Oh ‏@arissaoh  Mar 14

> is a perfectly constructed evening of madcap merriment.” AND RACISM!

Arissa Oh ‏@arissaoh  Mar 14

Thank you to this blog for warning me about the #racism I am going to have to deal w/ at my kids’ HS https://ilovenewton.com/modern-millie-racist/ …

Arissa Oh ‏@arissaoh  Mar 14

As if kids in a large, white HS in a large, white suburb don’t risk being alienated enough >

Arissa Oh ‏@arissaoh  Mar 14

Watch the clip from the 1967 film of Thoroughly Modern Millie and tell me it’s not racist, Newton North HS http://www.asamnews.com/2014/03/11/i-love-newton-high-school-stages-play-filled-with-asian-american-stereotypes/ …

Arissa Oh ‏@arissaoh  Mar 14

‘we did not anticipate that ppl wd be upset that we are staging a racist show; pls come and share yr concerns so we can dismiss those too’

Arissa Oh is a professor of history at Boston University. Professor Oh’s current project examines the origins of the practice of Korean and international adoption. Her research and teaching interests include immigration and race in U.S. history, transnational Asian-American history, and Cold War social and political history. She has a B.A. from Yale and a Ph.D. from University of Chicago. She lives in Newton, MA. You can follow her on Twitter.

p.s. I was told that the director, Brad Jensen, would be very open to discussing my concerns. So I wanted to officially note that I emailed him a few days ago and he never got back to me.

Nor did the response from Todd R. Young (Chair, NNHS FPA Department), Adam Brown (Director, Theatre Ink) and Jennifer Price (Principal, NNHS) get emailed to me directly.

Related Links:

Thoroughly Modern Millie is Thoroughly Racist

Talk Back: Racism in Thoroughly Modern Millie at NNHS

NNHS Responds to Concerns About Thoroughly Modern Millie

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Rebuttal to ‘Millie in Newton: Turn Stereotypes into Lessons

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters (Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh  1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.

Photo credit: Grasshopper and Sensei, my oldest.
March 13, 2014
NNHS Responds to Concerns About Thoroughly Modern Millie
This letter was released today in response to the issues related to “Thoroughly Modern Millie,” as outlined on this blog and elsewhere. Village 14

Department of Fine & Performing Arts

Newton North High School

March 13, 2014

This letter is in response to some recent concerns surrounding Newton North’s production of Thoroughly Modern Millie. It is important to acknowledge up front that we recognize the concerns that have been brought forward. We appreciate the open and honest dialogue and hope that the information in this letter will help us all understand the work that has gone into this production and the teaching and learning that will continue long after this weekend.

In choosing Thoroughly Modern Millie for production we recognized early on that there are some significant challenges in regard to the stereotypes portrayed in the show. We ultimately decided to produce the work, but took deliberate steps to address these concerns directly from the onset:
- Michele Leong, English Teacher and Director of the Office Human Rights and Charlene Beh, English Teacher at Newton North have been a helpful resource to the faculty, staff,and students involved in this production. They led the cast/crew in workshops about the stereotypes portrayed in the musical. They also were instrumental in educating the staffand students on Asian Stereotypes in the media and its impact on our society. Ms. Beh also attended a rehearsal and gave helpful feedback to the production staff.
- The students in the Asian Culture Club at North had a conversation with the director,producer and department head in which they voiced some of their concerns and suggestions.
- We reached out to MTI, the company that owns the rights to Millie to see if a high school edition was available. Unfortunately, it was not.
- The program includes a Production note that addresses the concerns surrounding the stereotypes.
Adam Brown, Director of Theatre Ink, in his opening words to the audience at each production will make a statement about the stereotypes in Millie and invite the audience to read the production note found on page 49 as well as invite them to our talk back.

We do understand that we did not appreciate the magnitude of feelings that the play would elicit. Even as educated artists and teachers we also learn and grow in situations like this. Future selections will go through more scrutiny and we will look at issues with a keener eye. We do apologize for the impact that this has caused and may cause members of our community. Even with these steps in place, we acknowledge that for some it may not be enough. It is our sincere hope that this production is one of both artistic integrity and one where significant learning has occurred. It certainly was never and is never our intent to offend members of our school or Newton community.

Theatre Ink prides itself on being “Newton North’s Teaching and Working Theatre.” The process of producing this show, and the thoughtful and sometimes challenging dialogue it has generated among staff, students, and the broader Newton community, exemplifies the program’s commitment to explore, critique, and interpret how the human experience is conveyed throughthe arts. As the curtain goes up tonight we are bringing the constructive conversation and learning process that our school community has engaged in over these past few months to an audience of students, parents, and community members. We hope that you will choose to participate in it with the same appetite for learning that we have seen in our students – a genuine desire to understand our differences, our history, and ourselves.

On Monday night, March 17th, we will hold a “Talk Back” to further learn and share perspectives surrounding the arts and stereotypes, especially those presented in Millie. All are welcome to attend. The meeting will be held in Newton North High School’s Little Theatre at 7:00PM. We hope you will join us.

Sincerely,

Todd R. Young

Chair, NNHS FPA Department

Adam Brown

Director, Theatre Ink

Jennifer Price

Principal, NNHS

p.s. A reaction on Twitter

Arissa Oh ‏@arissaoh Mar 14

‘we did not anticipate that ppl wd be upset that we are staging a racist show; pls come and share yr concerns so we can dismiss those too’

Arissa Oh is a professor of history at Boston University. Professor Oh’s current project examines the origins of the practice of Korean and international adoption. Her research and teaching interests include immigration and race in U.S. history, transnational Asian-American history, and Cold War social and political history. She has a B.A. from Yale and a Ph.D. from University of Chicago. She lives in Newton, MA. Follow her on Twitter.

Related Links:

Thoroughly Modern Millie is Thoroughly Racist

My Take on Thoroughly Modern Millie

Talk Back: Racism in Thoroughly Modern Millie at NNHS

Throwndown NNHS: Talk the Talk or Walk the Walk? Regarding Racism in Thoroughly Modern Millie

MTI Advises How to Squelch Dissent on Thoroughly Modern Millie

Thoroughly Modern Millie End of School Year Takeaway

Thoroughly Modern Millie Talk Back Videos

Rebuttal to ’Millie in Newton: Turn Stereotypes into Lessons

The Boston Globe: School Play’s Stereotypes Bring Outcry and Apology. “Millie” touches nerve in Newton by Ellen Ishkanian

The Boston Globe: ‘Millie’ Flag Highlights How Old Plays are Rife with Stereotypes by Don Aucoin

The Telegraph: US high school show triggers race row by David Millward

NECN TV Segment: NECN Broadside with Jim Braude, Historical Musical Sparks Controvery at Massachusetts High School

More Than 50% of Asian American Teens are Bullied in School

White Privilege and Thoroughly Modern Millie

The Boston Globe: ‘Millie’ Fight Creates a Chilling Effect by Joan Vennochi

The Boston Globe: ‘Millie’ in Newton: Turn Stereotypes into Lessons

The Boston Globe: Musical is Little More Than Staged Racism by Jeffrey Melnick (Letter to Editor in response to Joan Vennochi’s article above).

Monitoring, Exposing & Fighting Against Anti-Semitism and Racism: Thoroughly Modern Millie’ play draws controversy in Mass. over racial stereotyping

Company One: In the Intersection, Thoroughly Modern Millie Controvery at Local High School

A case study published by UMass Peter Kiang almost 20 years ago (see pages 9-13), parallels almost exactly what happened at Newton North High School. ScholarWorks at UMass Boston, We Could Shape It: Organizing for Asian American Student Empowerment by Peter Nien-Chu Kiang.

The Notebook: Racism isn’t entertainment: Why “Thoroughly Modern Millie” didn’t belong on CAPA’s stage

Resist Racism: Thoroughly Racist ‘Thoroughly Modern Millie’

Genki Speak: Racism in Our Backyard

Angry Asian Man

Village 14: Decision to Stage ‘Thoroughly Modern Millie’ at North Challenged

AsAm News: Play Filled With Offensive Images Sparks Town Hall Meeting

AsAm News: I Love Newton: High School Production Fails To Address Heavy Dose Of Asian American Stereotypes

Greer Tan Swiston: Kudos to Newton North for a thoroughly modern update of ‘Millie’

The Boston Globe: Oh, by the way, how about a round of applause for the kids? (Letter to the Editor from a grandparent)

The Boston Globe: Choice, execution of musical informed by thoughful education process (Letter to the Editor from the writers who comprise the Theatre Arts Opportunity Committee at Newton North High School.)

The Boston Globe: We miss a vital chance for understanding when we swap out ethnic characters (Letter to the Editor from a great-grandmother, teacher and volunteer)

Arissa Oh ‏@arissaoh 1h

3 white ppl on @GreaterBoston unhelpfully discuss HS prodns of “Thoroughly Modern Millie.” cc: @pragmaticmom

Pawprint: Millard West Student Newspaper: Through with Thoroughly Modern Millie

The Washington Post: Twenty-Three Skiddo: ‘Modern Millie’ Doesn’t Dance

It’s an attempt, sort of, at a parody of the old-style musicals of the ’20s and ’30s, the sort jerry-built out of cheerful songs, convoluted plots, elaborate tap demonstrations and derogatory stereotypes.

IMDb: Thoroughly Embalmed Musical

Project Muse: Thoroughly Modern Millie (review)

Not Like Crazy: An Easily Overlooked Racism?

In the Spring semester at school, the Musical Theater Department put on Thoroughly Modern Millie, which was overflowing with racism in its portrayal of Asians. I must say, I was thoroughly upset about the whole thing. First, the guys playing the Asians, I believe they were supposed to be Chinese immigrants, had white face makeup and slanty eyes. I couldn’t help but think that if they’d dressed in blackface, surely there’d be an uproar (Of course, they are putting on Ragtime this year, so we’ll see how they handle that– they’re already sending out emails about how they want the black students to try out for roles because there aren’t many black people in the musical theater department *eyeroll*). That wasn’t the only bad thing about the musical, however, the villian was a white woman pretending to be Asian who pronounced her L’s as R’s, and said she used soy sauce to clean a stain. Of course, she also treated the two Asian immigrants who worked for her as if they were stupid, and the silently and humbly submit in front of her, though behind closed doors they argue in Chinese (I guess it was real Chinese), with subtitles projected above the stage. And then one of the Asian men falls in love with one of the white women in the musical, blonde hair, blue eyes, you know the deal. At the end of the musical, they get together, as if his reward for working hard and being submissive, for being mistreated, is the gift of white womanhood, the pinnacle of creation. So yeah, I was pretty pissed about that whole thing.

Myvanwy: Review of Thoroughly Modern Millie

Someone sent me video of a local comedian’s youtube video of a character I’ve seen him portray once before. To call it infantile and racially insensitive would be a gross understatement. For the targets of his ridicule, it’s every bit as offensive as a mean-spirited performance in blackface. But because it’s against one of the few groups for whom bigotry, hostility, and ridicule is still acceptable (Chinese Americans and others of Asian and/or Pacific Island descent), it’s seen as okay by most and even encouraged by other local comedians. Kevin Marshall’s America

Zak Keith: Hollywood Asian Stereotypes

Racism against Asians is often “unawares”—a form of racism that flies under the radar due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept patronizing remarks and racist taunts so demeaning that perpetrators would think twice before dishing them out with such unwavering consistency to any other minority group, such as Latinos or African Americans. Asians who object to such treatment are typically met with befuddlement and offense at their audacity to make an issue out of it.

Mia Wenjen blogs at PragmaticMom: Education Matters, here and occasionally at her Asian American blog JadeLuckClub. She resides in Newton with her husband and three kids, the oldest of which will attend Newton North High School this fall. She can be found on Pinterest, Twitter, LinkedIn, Facebook, Sulia, Google +, Instagram and YouTube.
March 13, 2014