I’m Too Sexy: A Woman’s Guide to Being Perceived

by Maggie Mershon

A stage, showgirls, and sex appeal-the only three things you need for a successful show. Well, at least that’s the way it usually goes unless you live in the perfect conditions to combat it. Those who produce radical change can only do so if they are in the favor of those who are in power. In the musicals Funny Girl and Miss Saigon, it becomes easy to see how something as simple as culture or racial context can affect how one is expected to perform gender and sexuality and how easily they can manipulate that vision. Looking at the way they practically perform their genders on stage and how that affects their relationships with those in power, the white men in their lives, gives a nuanced look at how a woman understands their sexuality. Though Fanny Brice from Funny Girl and Kim from Miss Saigon outwardly perform the same gender, their different cultures and backgrounds mean that only one is given the choice of sexuality, which expresses itself in their performances and relationships outside of the theatrical space.

Both Fanny Brice and Kim are expected to perform for audiences, however, the way they are expected to perform is entirely different. Fanny Brice from the very beginning of Funny Girl is very much aware that because of the way she looks and is upset by how little she receives because of the way she looks. She repeatedly tells people that attractive girls won’t be in fashion forever and one day she will be a desired asset. Technically, Fanny is at the disposal of her audience in terms of being sexualized. Since she doesn’t receive this sexualization she is denied entry to the world of performance. In her first musical number, she performs gender in a joking manner, pretending to be pregnant and making fun of the traditional concept of what it looks like to be pregnant, doing various sight gags with her fake belly. In this performance, Fanny is permitted to be something other than a sexual object, aiming for a humorous take on gender. This is the basis of the rest of Fanny’s performances. She chooses to be a funny, laughable character, an opportunity afforded to her by, to be perfectly blunt, the color of her skin. Were she not a white character, the “exoticism” and “foreign interest” applied to her, would turn into a sexual other no matter what she wanted. We see this very explicitly in the character of Kim from Miss Saigon.

Can you guess which one is anti-traditional feminine looks?

from Twitter @FunnyGirl_UK

The first time the audience is introduced to Kim is as a conservatively dressed “virgin” girl in a brothel. The moment she appears on stage, she is a sexual object. This connects the audience to the soldiers who are attending the brothel who see the women there as exotic sexual items and nothing more. Outside of that context, they are nothing. After a few minutes, Kim quickly realizes that she is going to be sexualized no matter what and the Engineer encourages her to use that to her advantage. Kim continues to appear conservative and watches as the girls around her throw themselves at men to try and get a chance to better their lives, which for many of them means getting the opportunity to move to America. Kim’s only chance at survival is predicated on the fact that she accept her inherent sexuality and weaponize it. As the show moves on, she does that, dissociating her mental faculties from how she capitalizes on her sexuality which becomes crucial to her survival as it applies to her sex work. While Fanny Brice can perform a whole host of other perceptions and personalities onstage, Kim is not afforded the same luxury due to what her audience expects of her.

As is typical for a musical, both stories include love interests. And while they both compliment two strong leads, these love interests aren’t necessarily great, giving, feminist icons. In Funny Girl, Fanny Brice becomes entangled with a rich, fancy man named Nick Arnstein. At the beginning of the show, Fanny is unable to believe that Nick would be interested in someone like her because she has always been told by her mother and the people around her that she is not beautiful enough. When Nick approaches her about a relationship, it is very much up to her whether or not she wants to continue a relationship with him. He defers to her decision about whether or not she wants to move forward sexually. This occurs rather explicitly in the song “You Are Woman, I Am Man,” where Nick continually asks Fanny to get together with him and only does so once she accepts. Her sexuality can be conditional on her consent, which is not something of which non-white women are afforded the luxury. Following this romantic involvement, Nick and Fanny become married, sharing everything with one another, including money, something with which Fanny is very well-endowed. As a man culturally engrained with toxic masculinity, Nick feels emasculated and begins to pull away from Fanny as she becomes the breadwinner of the family. Nick feels belittled by Fanny earning money by going to work, a scenario that makes her appear more masculine and less feminine, and by virtue of the latter, sexualized. In the early 20th century this kind of opportunity would only be available to a white woman, due to persisting stereotypes about those of other races that oppress them to otherness. As a member of the majority race class in America, Fanny would have been the woman to receive such an ability.

In Miss Saigon, the plot of the story is built upon the relationship between Kim and an American soldier named Chris. Beginning in Dreamland, a brothel filled with American soldiers and Vietnamese women trying desperately to appeal to men with their sexuality, Chris takes notice of Kim. She is the only girl who isn’t actively trying to sell her sexuality and as a result, Chris is immediately interested in her. Kim is sold to Chris for the night and they sleep together. When we see him the next morning, Chris is completely in love with Kim. Yes, that’s right, in love. The only things he knows about her is that she doesn’t want to be sexualized like the other women of the club, and he rewards her for that by sexualizing and sleeping with her. Think of it this way, Chris wants to celebrate Kim not actively performing her sexuality and to do so he engages with her sexually. There is no context in which Chris’s perspective of Kim isn’t dominant, not only because he is an American soldier and she is Vietnamese, it is because she is only a woman and in that perspective is a sexual object. Every encounter between Chris and Kim is sexually charged with them passionately kissing every time they are united, him leaving her wrapped in a bedsheet, asking she be in bed when he return, and him, even in death, needing to wrap her in his arms and kiss her one last time. Even though Kim becomes a murderer, mother, and martyr, she is still defined only by her sexuality whether she likes it or not.

Both the actors who play Kim and Fanny Brice seem as though they have a strong conceptualization of what it means to be a woman in their given scenarios. Sheridan Smith’s Fanny Brice is, while a little shy in her movements with Nick, closing her body language off from him, she also projects a confidence in non-feminine movements. She capitalizes on moments like “Rat-tat-tat-tat,” fully committing to forego her femininity and create oafish character movements, an opportunity Fanny Brice would have accurately relished in. The caricature in the way she speaks separates her even further from traditional femininity. In the same way, Eva Noblezada’s Kim is not unaware of the position she’s in. At the beginning of the show, when she needs to appear a virgin, she gives an air of quietness, moving in slow, subdued movements. As she becomes more empowered by Chris’s validation, she is charged with energy, giving to him all of the power he is giving her. As the show progresses, she becomes stronger, striking power poses and gripping her son with strength. Even in her singing voice, Eva gives it her full power, but only in contexts outside of Chris, in songs like “You Will Not Touch Him” and “I’d Give My Life For You,” restraining herself in songs like “Sun and Moon.” She remains strong and steadfast for the entirety of the second act, returning only to quietness when she and Chris and reunited as she dies.

Grip that kid, Eva!

from: Playbill.com, Photo by Matthew Murphy

There’s an opportunity in every piece of work to represent your characters in a way that reflects the audience in a way that empowers or hurts them. Addressing how sexuality is a vital counterpart of what it means to be a woman is incredibly necessary. It could not be more important to think about how those who are a part of multiple intersecting minority groups, are not offered the opportunity to define what that identity looks like. Funny Girl gives the audience a peek of what that choice could look like, but Miss Saigon presents an unfortunate reality for several women. This representation is valuable for those who can’t comprehend what that lack of choice looks like and provides a space for reflection on behalf of those who are perpetuating it and validation to those who are victimized by it. So, no, the world isn’t totally equal and fair for every individual, but it’s through performance and theatre that we are able to enable active discussion and empower choice and change until it is.

Musical characters

6 Comments Leave a comment

  1. Maggie, I was shocked to see you were comparing Kim and Fanny as I had no idea how it could be done, but this was wonderful. You united these musicals for me in a way I didn’t think they could coexist in my mind and now I want to think about every musical I’ve ever seen and the sexualization of the women (and how that connects to their race). I think you’re completely right that only white women have the “privilege” of not being sexualized, but I think I’d even take it a step further to say that Fanny, because she was Jewish, never really had the option of being sexualized. As you mention, choosing to lean into her comedy over her physicality was a choice she made because everyone always told her she was ugly and Ziegfeld did give her the opportunity to perform regularly, but I don’t know if anyone would have put her on a Follies pedestal and billed her as a sexy object (and yes, I use “object” on purpose). Fanny sort of has the opposite problem from Kim, where Fanny is “exotic” in a bad way, marking her as ugly, and Kim is “exotic” in a good way (good for who? Who knows), making her sexualized when she wants nothing to do with it. in this way, the way both girls are presented to the world are completely dependent on their races and backgrounds, though you’re so incredibly correct about Fanny having far more leeway and choice due to her whiteness. Anyway, I don’t know what I’m saying at this point except that I love this essay and keep thinking about it!!

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  2. Maggie,
    This is an excellent piece of writing that only gets stronger as it progresses. Your title grabbed my attention, though the first paragraph did lose me for a moment. The sentence, “Those who produce radical change can only do so if they are in the favor of those who are in power” made a bold claim I really admired, so I wish you spent another moment there. That being said, the heart of your essay is fantastic. The way you use detailed descriptions to call us back to the very moments that helped you develop your argument is both captivating and thought provoking. A few points that stick out, in particular, were your statement about Fanny’s consent providing the conditions in which her sexuality can be exposed, and the development of Kim’s power in all places but her relationship with Chris. The specific examples you included of “You Are Woman, I Am Man” and the way Eva utilizes her voice are helpful in getting the reader to arrive at the same conclusion as you. I’m excited to read the rest of your work!!!

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  3. I am extremely interested by your argument about sexualization of Kim and not Fanny is the key difference in their characters as I compared both Kim and Fanny in my essay and never thought of them in that way. I always perceived the difference between them that Fanny actively defies stereotypes and norms of femininity while Kim conforms to the role of the stereotypical Asian woman. In my interpretation, this was Fanny’s choice. However, from your perspective, Fanny had to perform the way she did and act the way she did as as woman because she lacked the attractiveness to pull of the sexualized feminine role. I think it is probably a bit of both– Fanny is aware she is not that appealing to men so she has chosen to embrace that as part of her defying stereotypes. Additionally, I agree that analyzing how love and their relationships play into both the characters of Fanny and Kim. I agree that the power dynamic between Chris and Kim plays a large role in their relationship as Kim is subservient to Chris as an Asian, a woman, and a prostitute. I believe that despite Nick Arnstein being problematic for being emasculated by Fanny’s success and his lack of success, her pursuit of him and control over their relationship reinforces her as progressive in defying stereotypes of femininity.

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  4. Maggie! To start, your introduction was fantastic. I found myself going “mmm” and nodding when I read your sentence “Those who produce radical change can only do so if they are in the favor of those who are in power.” That is SO real and such a good way to kick off your essay. Your descriptive contrast of how Fanny and Kim portrayed gender was a great example to use to support your thesis. Who a woman is supposed to be performing for, or her audience, plays a great role in who she is expected to be as a woman. It is important that we acknowledge that when looking at gender roles and stereotypes and I loved how well you did that here. Also, your pictures and captions were SUCH a great addition to this! They broke up the essay, made me laugh, but were also very intentionally placed and added informational content to your piece. Loved reading this!

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  5. WOW. I love how you start your analysis with bold, gripping statements that give the reader pause before realizing, “wow. She’s right.” When you wrote, “those who produce radical change can only do so if they are in the favor of those who are in power,” I was floored. You beautifully put into words the struggles of women to remain sexy and also empowered in show business, an obstacle that shouldn’t be an issue and yet inarguably is. I love how you mention the role that race plays in Fanny’s ability to be funny, and anything other than an object of sexual interest… something you critically note is not afforded to the character of Kim from Miss Saigon. In mentioning race, you beautifully intersect multiple musicals that each fail in their own sense to address gender and racial roles progressively. I also loved your use of pictures – they were engaging and tied the article together.

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  6. Margaret Mershon! Great work on this piece! I just had to read it based on the title alone. “I’m Too Sexy: A Woman’s Guide to Being Perceived” is such a great opener, and while your blog post wasn’t exactly what I expected, I thought your insightful and powerful analysis of gender roles in theatre was excellent. It felt similar to my blog in structure and message, but your choice of contrasting characters was much more appropriate. In many of the musicals we have watched, the lead women have much more performative roles in the context of the male gaze. Fanny Brice and Kim are the two best examples of performing for an audience but in drastically different ways. You accentuated this difference in femininity but showed how they relate to each other despite these differences and, most importantly, why both perspectives are problematic. Your blog made me understand the characters of Kim and Fanny in such a unique way. Again, fantastic job on this post!

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