Thanks to Mia Wenjen for covering this topic so thoroughly on her blog, I Love Newton.
“Thoroughly Modern Millie” was a musical film from 1967. It included a subplot about a hotel proprietor who dresses in yellowface and two nefarious Chinese henchmen. It was developed into a musical 33 years later, and the racist subplot remained intact.
I was somewhat surprised that anybody would consider a remake of a dated movie to be a good idea, especially given the racism. Of course, we’re only too familiar that white people find agreat deal of entertainment in racism. The entertainment value is often used as a defense of racism: “But it was only meant in good fun!”
If you do a brief web search, you’ll find that “Thoroughly Modern Millie” is a popular choice for high school theatrical groups. Undoubtedly because it’s so much fun. Newton North High School chose it for its spring production. Newton (MA) is predominately (82%) white, with an 11% Asian American population. And although concerns were voiced before the musical was staged, it proceeded as planned. Although a note about the “stereotypes” was listed in the program guide, apparently. On page 49.
It’s been my general experience that when white people are confronted with their racism, they rarely will completely abandon the racist endeavor. This is because they have too much invested in both the endeavor and the racism.
A friend of mine once said that white people won’t admit to racist actions because they don’t like being wrong. I think that’s right, but I think it’s more than that. Part of it is that they have been conditioned to believe that their viewpoint is always right, and this is regularly reinforced until it completely supplants any type of critical thinking. Part of it is because the racist viewpoint is the infrastructure that supports institutionalized racism.
One of the most common responses in discussions of racism is minimization. “Oh, it’s not a big deal.” Because we’re making a mountain out of a molehill. Yet if you turn it around, it suddenly becomes a big deal. If it isn’t such a big deal to perpetuate racist stereotypes, then it shouldn’t be such a big deal not to do it.
But it is a big deal. And this is privilege.
Because we’ve found again and again that white people will fight for their right to maintain racist structures.
“It’s just a silly musical.” However, this selection of a musical served to make it quite clear who should and should not be engaging in the theater production. People who knew this was all in good fun? In! People who are whiners and who see racism in everything? Out!
So basically what Newton North High School did was create a whites-only musical without ever having to call it such.
Oh, but when white people want to show you how open and inclusive they are, they’ll include that little note on page 49. Although that note will go largely unnoticed by the audience. Although that note rings completely false when you have a character in yellowface and two Oriental buffoons for laughs. Because white people want to eat their cake and have it too.
And then they will congratulate themselves. Here’s the principal, Jennifer Price, quoted in theBoston Globe:
Newton North principal Jennifer Price said Monday that administrators have learned through the experience and stressed that the school in no way condones racism.
“We can say very clearly, it is not what Newton North believes in,” she said. “We very much at this school are so proud of the diversity. It defines us.”
Because if you say you are not racist, it must be true! Because anti-racism is all about thinking warm fuzzy thoughts and singing kumbaya. It doesn’t have anything to do with confronting established systems of power or being made to feel uncomfortable or about having to cancel a stupid musical because it is racist. It’s just about what you believe.
Here’s a novel thought: If you don’t want to be thought of as racist, don’t do racist things.
The harm goes beyond preventing certain people from participating in the theater group. It perpetuates the image of the “Chinaman” as somebody subhuman and fair game for ridicule. And dehumanizing others makes it easier to treat them as less than.
This is especially toxic and alarming in a school environment. Asian Americans suffer significant amounts of bullying in the classroom (.pdf link) and Asian American teenaged girls suffer from the highest rate of depressive symptoms of any racial or ethnic group. Suicide is the fifth leading cause of death among Asian Americans (source). And racism is a significant stressor for all people of color and has negative ramifications on health and well-being.
So when white people ask “what’s the harm?” you can point to actual statistics.
After the school and the theater group chose to perform this racist musical, the principal, the theater director and the FPA chair then wrote a long self-aggrandizing letter talking about everything that had been done (none of which, of course, included cancelling the performance). They talked to the kids, they put a program note on page 49, and they tried to find out if there was a “high school edition,” which they claim does not exist. (Note: MTI does in fact offer a “Jr.” version of this musical, but it doesn’t seem to omit racism. So no idea what is being kept from high school students here.)
They also talked about the opportunities they have to “learn and grow.”
I’ve said it before and I’ll say it again: Why does the white version of anti-racism rely on committing racist acts and then using them as “teachable moments”? If I want to teach students about violence, I don’t punch them and then tell them it’s wrong. If I teach trauma surgery, I don’t first run over somebody with a car.
So you can talk all you want about your awareness of stereotypes and your anti-racism. But if you go ahead and produce a racist musical, you’ve already shown me what you really believe.
There are about a million teachable moments about racism every day, and I can’t say that I’ve ever noticed any of my white teachers using them to teach. Rather, I think it’s fair to say that many, many racist events happen in the school settings where teachers and administrators minimize or deny or ignore. It’s the same shit over and over again, and partly because it is continually re-taught and re-enacted. High schools around the country perform “Thoroughly Modern Millie” and elementary schools everywhere still have kids dress up like Indians for Thanksgiving.
So performing “Thoroughly Modern Millie” isn’t just about excluding a significant portion of the population, but additionally is about recreating and repopularizing racist entertainment. IT WAS A 1967 MOVIE, FOR FUCK’S SAKE! LET THE FUCKER DIE ALREADY!
I’d note that this is a clear argument against that false belief that “racism will die out as old people die out.” Because obviously racism is being taught to the new generations.
Another faulty argument that often arises in defense of racism is the “history” one. You know, because you can’t erase the past. Another Boston Globe writer sums it up thusly:
Adults should remember that art reflects reality at a given moment in time. And while the past can be uncomfortable to recall, it’s better for the next generation to learn from it rather than forget about it.
This is frankly an idiotic argument, and one that points to a gross lack of critical thinking. Because we aren’t talking about removing all copies of the movie “Thoroughly Modern Millie” from existence. We’re talking about not performing racism. I don’t think the next generation is going to forget about racism. Because it’s being carefully taught on a daily basis.
There’s also the Free speech! argument, which I’ve covered plenty. But people of color, don’t forget that the free speech argument doesn’t apply to you. Because the institution supported by racism will always seek to silence you in whatever way possible.
Mia Wenjen posted a transcription of much of the Asian American testimony at the Talk Back, which was held after the musical concluded. While there are a fair number of comments thanking her for raising the issue, there are a number that took issue with what she said. Particularly what she said about two unnamed persons whom she referred to as “white privilege husband” and “white privilege wife.”
This is “white privilege husband”:
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.
“White privilege wife” said, “We are not here to support you [the Asian Americans]” when Wenjen greeted her.
One of the commenters claims to be the daughter of “white privilege wife” and uses 400+ words to talk about how great her mother is and how she has dedicated her life to helping small children or crack users or something. She demands an apology, all because Wenjen reported her mother said “We are not here to support you [the Asian Americans].”
Another claims to be the son of “white privilege husband” and an actor in the musical. He must have written a thousand words or so, part of them supporting the goodness of “white privilege wife” and part talking about what a wonderful human being he is.
And then he goes to the “tone” argument.
Yeah, we have heard it all before.
But I’m not sure we have “valuable allies” when our “allies” are busily writing more about how great they are. Because anti-racism with a white center will never work. Because trying to dictate how we proceed in social justice work is an attempt to control and often to silence. You can read it in the high school students’ comments. They are attempting to silence and to shame. Because white teens undoubtedly know more about racism than an adult Asian American woman who has lived the Asian American experience.
Because they are being carefully taught. Because that is one of the costs of racism.
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
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
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).
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
1h3 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.
