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Colonialism in ‘The King and I’ and Related Media

‘The King and I’ promotes colonialist and “white savior” attitudes. … Adding romantic interest to the story, showing King Mongkut as exceedingly admiring of Anna and portraying her influence in the court as more than it was, paints Western values and morals as superior to others, justifying colonialism by making it seem as though Eastern countries “need” the West.

Written by Jackson Adler as part of our theme week on Interracial Relationships.

“Is the King and I racist, and is it time it was put to rest?” [sic] asks Dee Jefferson of The Sydney Morning Herald. While his article is inconclusive, I strongly believe that the Rodgers and Hammerstein musical as it exists now, and other Western media telling the same story, should be “put to rest.” The way that the story of Anna Leonowens teaching at the court of King Mongkut of Siam (now Thailand) in the mid 19^th century is told in the West needs to be completely redone if it is to be told, because the way it is presented is both inaccurate and harmful. There is a reason The King and I (staged on Broadway in 1951 and adapted for film in 1956) and many other adaptations of the same story such as Anna and the King of Siam (1946) and Anna and the King (1999) either are or were banned in Thailand – because they are extremely insensitive to Thailand’s history and culture, and promote colonialist and “white savior” attitudes.

To say that The King and I and related media is racist is missing the point. This is because racism is a product of colonialism, often being an afterthought justification for stealing and controlling another peoples’ wealth, labor, and resources, or as a propagandist rallying cry to begin the colonization of another people and their land. Anna Leonowens is painted as the “white savior” in these adaptations, and shown inaccurately as the main influence behind the reforms implemented by Mongkut and his son Chulalongkorn.

Though Mongkut and Leonowens did respect one another and worked closely, a romance between them does not seem to have existed, and the invention of it in the media is a tool to better depict Leonowens “civilizing” Mongkut to the extent that he might be a “gentleman” and a romantic interest – albeit in a bittersweet “it would never work” way. Interracial relationships (however problematically written) are themes in Rodgers and Hammerstein’s work, such as in South Pacific, as interracial marriage was a hot button issue at their time, not nationally legalized until 1967. Under the guise of being “progressive,” these works actually do an incredible amount of harm.

Mongkut hired Leonowens (who was ethnically English and East Indian, but claimed to be Welsh) to teach his children “English language, science, and literature, and not for the conversion to Christianity.” He himself already knew English (and Latin) and was well versed in Western culture. The image of Mongkut in the media is a stereotypical “barbarian” and “foolish” despot, despite the efforts of talented actors such as Chow Yun-Fat and Ken Watanabe to show a complex and thoughtful human being and leader. Women’s rights were improved under his reign. For example, unlike the story of Tuptim in the musical suggests, he outlawed forced marriages and released a large number of concubines to marry whom they chose. He respected the minds and wishes of his wives. When they met, Mongkut and his family treated Leonowens with kindness and respect, while she was often rude, condescending, or sarcastic to them. She strongly believed herself superior to the Thai people due to her being (part) English and a Christian, even telling members of the royal family to their faces, “I am not like you.”

The myth of she and Mongkut emotionally having a romance is quickly debunked due to various instances and examples of her enacting and making plain her biases and self-righteousness. One such instance was when she was asked by some female members of the royal family which prince she would find more desirable to marry were she to choose. She replied, according to her first autobiography, that they “are pagans” (Buddhist) and as such, “An English, that is a Christian, woman” such as herself “would rather be put to the torture, chained and dungeoned for life, or suffer a death the slowest and most painful you Siamese know, than be the wife of either” [sic]. The words “you Siamese” naturally show her condescending tone and attitude towards Thai people, insulting their intelligence and knowledge of the world.

Aspects of Leonowens’ autobiographies have proved to be exaggerated or fabricated, and seem to have been made to make herself look better and Mongkut look cruel. Various members of the Thai royal family, from Chulalongkorn himself to more to the present, have spoken out against both the inaccuracies in Leonowens’ works as well all media representations. One example of this is the alleged execution of Tuptim, featured in many adaptations (though she is whipped in the musical). Much of Tuptim’s story was fabricated, and she in fact was not executed, but became one of the wives of Chulalongkorn. Indeed, according to Mongkut did not believe in executions, considering them not in line with Buddhism.

However, Western adaptations have been more than ready to depict the Thai as “barbarians” or as “foolish” and Anna as the epitome of Western graciousness and, indeed, womanhood. Adding romantic interest to the story, showing Mongkut as exceedingly admiring of Anna and portraying her influence in the court as more than it was, paints Western values and morals as superior to others, justifying colonialism by making it seem as though Eastern countries “need” the West. Of course, Anna and Mongkut never kiss and hardly ever physically show their romantic interest, as to do so would “corrupt” Anna, the white woman, and put someone “lesser than” above her due to gender norms.

The fictionalized versions of this story are not only problematic in how they are written, but also problematic in terms of casting. As of 2014, white men are still being cast as King Mongkut, showing little has changed since Rex Harrison played the role in 1946. When an Asian man is cast, even in film adaptations, it is an actor who is not Thai, playing into the Western myth that all Asians and Asian cultures are the same. Except for Korean-American actress Anna Sanders, who played Anna on Broadway for a total of three performances in two days, the role of Leonowens has exclusively been played by white women, and often portrayed as blonde or redhead, despite the historical figure being part East Indian and having dark hair. This whitewashing is ridiculous, and shows how little white Westerners have changed in their self-righteousness and feelings of entitlement toward other lands and cultures.

All in all, the story of Anna Leonowens teaching at the Siamese court, as it has been told by Western media, remain colonialist and otherwise harmful. Even if Leonowens and Mongkut had a particularly deep and romantic relationship, which they did not, Leonowens’ white savior attitudes and Mongkut’s (historically inaccurate) verbal and physical violence would make that relationship a terribly abusive and volatile one. This would not be the kind of relationship to be valued, making even the most redeeming qualities of these adaptions problematic at best. I am not advocating that Leonowens’ and Mongkut’s stories be silenced and untold, but instead that they be told with honesty. This was a king actively working to keep his country free from colonialism, and this was a woman whose colonialist attitudes — which kept her from interacting well with those who treated her with respect — were probably due to internalized racist biases and fears regarding her East Indian heritage (a heritage she worked hard to hide). This is in fact a story that needs to be told, and hopefully many more (and more accurate) adaptations will be made in the future.

Jackson Adler is a transguy with a BA in Theatre, a Bitch Flicks staff writer, and is a writer, activist, director, teacher, dramaturge, cartoon lover, vegan boba drinker, and proud Gryffindor. His day job is at a theatre (live, not movie), and he uses a pen name as a precaution, since he’d rather not risk getting fired. He is white and middle class, and has to remember his privileges. He is also aromantic bi/pansexual, and has an Auditory Processing Disorder and a Weak Working Memory (which does not excuse when he forgets that he has lots of privileges). You can follow him on twitter at @JacksonAdler, and see more of his writing on representation and discrimination in the media at the blog The Windowsill.

“Colorblind Casting,” Whitewashing, and the Erasure of PoC Histories

Thus, theatre erases the histories of People of Color in Europe by claiming that they use “colorblind casting” instead of just “casting” when they cast a Person of Color in a role that, historically, could have been a person of color. Meanwhile, TV and film European period pieces erase that history by Whitewashing it, not casting and thereby not providing employment to, or visibility and representation of, actors who are People of Color at all.

Written by Jackson Adler.

According to Wikipedia (please, just go with me), “Colorblind casting” is “the practice of casting a role without considering the actor’s ethnicity.” This definition (and the first that many people will read when they first Google it) is problematic, as that is rarely how “colorblind casting” is carried out. In theatre, “colorblind casting” is most often used for European period pieces, in which at least one Person of Color is cast as a role that the White public has usually thought of as White, regardless of whether people of that actor’s ethnicity were prevalent in the character’s location and social standing. While often used in the theatre, “colorblind casting” is rarely used in TV and film, supposedly because TV and film claim to be more concerned with historical accuracy, despite the fact that People of Color of various groups have had long histories in Europe. Thus, theatre erases the histories of People of Color in Europe by claiming that they use “colorblind casting” instead of just “casting” when they cast a Person of Color in a role that, historically, could have been a person of color. Meanwhile, TV and film European period pieces erase that history by Whitewashing it, not casting and thereby not providing employment to, or visibility and representation of, actors who are People of Color at all.

The film Les Miserables, featuring White people. — The film *Les Miserables*, featuring White people.

An excellent example of both “colorbind casting” and Whitewashing is the musical Les Miserables, which takes place in early 19^th century France. In the film, most all of the cast, from the leading characters to the background characters, were White. In its various London, Broadway, and other stage incarnations, “colorblind casting” has been used. The film was historically inaccurate in its Whiteness, because, particularly in Paris where trade was incredibly prevalent, there were many People of Color of various groups, with Black and Chinese people being particularly large minorities. For the stage productions to claim that they use “colorblind casting,” especially when casting Black and Chinese actors, is ignorant and racist because it is erasure of the history of People of Color in France. Did the dramaturges not even do the bare minimum historical research? Did the newest revivals not even use Google or Wikipedia to look up French history? These creative teams of the stage production are, unknowingly, not employing “colorblind casting”; they are employing “casting.” Meanwhile, the creative team behind the film was just racist, as well as unknowingly historically inaccurate.

A more recent example is in the casting of Vanessa Hudgens as the titular Gigi on Broadway. Vannessa Hudgens is Filipina, as well as Chinese, Spanish, Irish, and Native American. While rare for a girl of Gigi’s social standing in Paris in the year 1900, it would not be impossible for Gigi to have had the same exact ethnic heritage as Vanessa Hudgens, and very possible for Gigi to have had an ethnic heritage similar to Hudgens’. Also, in the original novella, Gigi’s maternal side of the family is Spanish, with her grandmother in particular being described as “dark.” The rest of Gigi’s ethnic background is not described in the novel. Not only is it historically accurate to cast Hudgens as Gigi, but it is supported by the original text off of which the musical is based.

Norm Lewis as Javert in Les Miserables — Norm Lewis as Javert in *Les Miserables*

It should also be noted that even creative teams who claim to be “colorblind” are not. An actor’s appearance, possibly even more than their performance skill level, is always taken into account. It is always “seen.” Few creative teams would cast Cosette and Eponine as 6’1’’ and Marius as 5’4’’, for example, due to stigma against tall women and short men. In fact, when theatrical creative teams use “colorblind” casting, usually Eponine is more likely to be a Woman of Color (take note that she DIES, and in the service of Marius, no less), than is Cosette (the girl Marius marries). It is also rarer to have a Person of Color play the protagonist Valjean than the villain/morally ambiguous Javert. But it’s totally not racist, everyone. The creative team doesn’t see color! …right? (Sigh.)

Gugu Mbatha-Raw as Dido in Belle — Gugu Mbatha-Raw as Dido in *Belle*

It is not only the poor and middle class in Europe who had ethnic diversity, but even European royalty, especially in Spain and Portugal. Queen Charlotte, wife to King George III of England, was visibly biracial/mixed race. Needless to say, Amma Asante’s Belle, starring Gugu Mbatha-Raw, should not be the only film, or one among a few films, to present these stories of upper class People of Color in Europe.

“Colorblind casting” is not entirely the fault of the creative teams behind these projects, however, as it is also largely the fault of White historians Whitewashing and revising history, especially in school textbooks. However, dramaturges and creative teams should be expected to do their research well. The creative team behind the TV miniseries The Bible (not a European story in origin, but a story important to many ethnic Europeans, so please go with me) felt they had to justify its casting of (only a very few) Black actors as Biblical figures in a special that gave its viewers a (very) short history lesson. The creative team did their homework, and applied (some of) it, even knowing that they would still get criticized by White viewers for not having an all White cast (though many, if not most, of the actors they cast were still White, with Joseph even having a Cockney/Estuary dialect). However, in reality there would have been even more People of Color, and it wouldn’t have been historically inaccurate to even have cast no White actors. No one should feel they have to justify depicting Mary Magdalene as Black. Meanwhile, how many Arab or Black actors have played Jesus? While how many White actors with light hair and blue eyes have played Jesus? Hollywood has also Whitewashed the stories and characters of Noah, Moses, and Cleopatra, and shows little sign of stopping this long-time trend.

Even in European folklore, there are People of Color. An example of this is the Black or Arab Arthurian knight Sir Palamedes, who was a rival to Tristan for Isolde’s hand in marriage. However, most film adaptations of Arthurian legends leave out that character, and have an all White cast. Many of the fairy tales in “Into The Woods” have origins outside of Europe, such as Cinderella, elements of the story having origins in Chinese history and Ancient Egyptian history and folklore. The setting of Disney’s Into the Woods was purposefully made to be vague, but even if it were set in a specific time period and place, it would not be historically inaccurate for even The Princes to be played by People of Color. However, while the background characters of the film Into The Woods were ethnically diverse, the main and supporting characters were all White.

Cast members, including those playing The Genie, Aladdin, and Jasmine, in Disney's stage musical Aladdin — Cast members, including those playing The Genie, Aladdin, and Jasmine, in Disney’s stage musical *Aladdin*

The Bible is far from the only example of non-European stories being Whitewashed both in film and onstage. The story of Aladdin has a problematic background, with it being “discovered” in France, but probably taking place in China, and definitely having Arab characters. The creative team behind Disney’s stage musical of Aladdin, originally cast no Arab performers at all, despite the Disney film clearly setting it in the Middle East (albeit with many ethnic stereotypes and depicting Aladdin and Jasmine as light-skinned and more European-looking than other characters). Similar to the situation with Les Miserables, it is not “colorblind” casting to cast someone light skinned and White-passing (in this case, biracial Filipino and Ashkenazi Jewish) as Aladdin, while casting someone who is Black as the comedic and literally tap-dancing Genie. These actors were specifically chosen for these specific roles, and there is nothing “colorblind” about it, nothing about their appearances that was ignored. Meanwhile, even contemporary works such as Avatar: The Last Airbender and Ghost in the Shell are and have been Whitewashed by Hollywood.

People of Color, historical and contemporary, in Europe and outside of it, are still being silenced, as well as colonized and erased, by Europeans, even onstage and on film. There is no excuse that can back it up. Even though historians Whitewash history, there is still a lot of material available to dramaturges and creative teams, whose jobs require them to do that research. Whether racism is intended or not, whether it is through ignorance or not, it is still racism, and still erasure. It is still wrong.

The Male Gaze and ‘Gigi’

However, the film musical is very different, dividing the women and telling the story from a male gaze, making it a romance instead of a story of female survival.

First made as a film musical in 1958 and then flopping as a stage musical in the 1970s, the revival of the Lerner and Loewer’s Gigi just opened on Broadway on April 8 with Vanessa Hudgens in the title role. This revival has brought more attention to the original film musical, which starred Leslie Caron as Gigi. The story Gigi, originally written as a novella in 1944 by Colette, takes place in Paris in the year 1900 and follows a girl coming of age while being pressured into becoming a courtesan to upper class men. Though her age was raised for the current stage adaptation, in Colette’s novella, Gigi starts the story at 15. At 15-and-a-half, her “lessons” in womanhood are completed, and she is expected to be a mistress to an old family friend – the wealthy and mustached 33-year-old Gaston. Instead of taking her on as his mistress and being her introduction to life as a courtesan, he asks for her hand in marriage. The novella ends there, and it is left up to the audience as to whether Gaston’s request was granted.

Colette’s novella focuses almost entirely on the domestic and “female” space of Gigi’s apartment, which she shares with her mother and grandmother (whom Gigi calls Mamita), and where her great-aunt (Aunt Alicia) often comes to visit. Her mother became a courtesan and then an actress/singer, and while she is often home late, she nonetheless cares deeply about her daughter and her future. She contributes to the income of the family, and is largely supported in her career choice by them. Alicia and her sister were courtesans, have since retired, and they are the ones who look after Gigi while her mother is working. Gigi’s full name is revealed in the novella to be Gilberta, a family name and one passed down by the women in her life. These women are independent due to having been courtesans, one of the very few ways a woman could be independent in France at that time. Yet, their independence has not kept them from being crushed and controlled by patriarchy. Another layer is that Gigi’s great-aunt and grandmother are Spanish, having immigrated to France. It is implied that their “dark” features resulted in their being othered, exoticized, and fetishized by French patriarchy.

Gigi’s older female relatives collaborate in deciding what is best for Gigi, and sometimes have one-on-one talks with Gaston about the family and Gigi. When Gigi has her own one-on-one talk with Gaston, it is evident that she is afraid of growing up into a woman, afraid of being sexually objectified and, even in the more independent choice of being a courtesan, having to constantly keep up a sexually gratifying façade to please the male gaze. Gaston felt out of place with his family and at his home, where everything felt cold and often just for show. He developed real friendship with Gigi’s family, who were always kind to him, and it is perhaps not just out of fondness for Gigi but also out of loyalty to Gigi’s family that Gaston proposes marriage, because by marrying Gigi he can personally and permanently help support the women who have been so kind to him. This story about women by a woman about female autonomy and the often lack of it ends with a man stepping forward to help support women. It is left up to the audience to decide whether Gaston should be trusted, and whether marriage under a kind master is or isn’t preferable to heartbreaking independence. This story is female-centric, pro-women’s empowerment, shows women supporting women, a man wanting to help these women’s well-being in the only way he knows how. However, the film musical is very different, dividing the women and telling the story from a male gaze, making it a romance instead of a story of female survival.

Gigi getting fitted for a dress, while her Aunt Alicia and Mamita examine.

While the novella shows women working together and supporting one another, the film divides them and shows them criticizing each other from afar and face-to-face, and competing and arguing with one another. The film musical removes Gigi’s mother almost entirely from the story (we hear her singing, but never see her), and it is implied that she is not a good mother because of her desire to pursue a career instead of staying home/marrying. The scenes often takes place in public and more “masculine” spaces, whether at nightclubs, barber shops, or in the streets of Paris. It also focuses more on Gaston (played by Louis Jourdan), as well as the new character from whose perspective the story is told – Gaston’s uncle, Honoré (played by Maurice Chevalier), who is around the same age as Gigi’s grandmother Madame Alvarez (played by Hermione Gingold). Through the male gaze, the complexity of Aunt Alicia (played by Isabel Jeans) and her warmth toward her family is largely taken away, making her into a cold stereotype, while her sister suffers a similar fate but in the opposite direction – becoming the stereotypical domestic mothering type always available to comfort and feed Gaston/men.

The film also adds the character Liane (played by Eva Gabor), a courtesan who starts the story as his mistress. When Gaston realizes that she is having an affair with her ice skating teacher, she slut-shames her, has his men forcefully escort her lover off of the premises of the hotel at which she is staying, and dramatically dumps her. This leads her to attempt suicide. This entire story line is played for laughs, with the moral that men can sleep around all they want but women have to be faithful to one man (even if they are a courtesan) and let their men control them. However, this was not a relationship or a marriage, but a business relationship. Though Liane violated her contract, she had few choices in life open to her. She became a courtesan, assumedly to be independent. Being a courtesan was her career, and then she fell in love (or lust) with a man who was not rich. She kept her career with Gaston and then had a fulfilling relationship with an ice skating teacher. She fulfilled Gaston’s sexual fantasies, as it was her job, but he did not fulfill hers, nor was he contractually supposed to, so she got her fulfillment elsewhere. Gaston then publicly shames her for it, she attempts suicide, and the entire catastrophe is in the papers the next day. Liane’s attempt at suicide is implied to be a mean of vying for attention, and once again she is shamed. Gaston is then comforted, even by Gigi and her grandmother, over the break up, even though Liane is the one who is most hurt. Liane was a victim of a patriarchal society and who could not find self-fulfillment in even the most independent life choices that patriarchy allowed her due to its narrow confines.

The film even undermines the experiences of its own heroine. Gigi (played by Leslie Caron) has some character-driven songs in the film (many of which were originally cut for the musical, and then put back in for the recent revival), but these are still largely from the male gaze in order to show Gigi as “amusing” or beautiful. Though Gigi’s lessons in female etiquette are mocked by the film, it is far from a commentary of how women and girls are oppressed by what patriarchy demands of them. The story establishes these “lessons” in how to dress, speak, and act as necessary by showing in a positive light how Gigi eventually succeeds in being seen as a desirable woman by the men in her life.

Gigi being instructed by Alicia as to how to sit like a lady.

Gigi, though being trained to be a courtesan and a mistress, has been told very little about sex, fitting in with the standard of women remaining even mentally virginal and “pure.” However, in a scene that could have been feminist, Gigi finds this unfair. When Gigi and Gaston have their first talk about the possibility of Gigi becoming his mistress, and Gigi brings up sex; Gaston says, “You’re embarrassing me,” and tries to avoid the conversation. However, Gigi demands that she has a right to know what is expected of her. When Gaston tells her that he is in love with her, Gigi becomes horrified and calls Gaston cruel. She thought that the plan for her to become his mistress was made because it was just what was expected of them, just business. “You say you love me,” she says, but he would willingly have her sexually objectified and her every move criticized, and would dump her when he was done with her, leaving her like his last mistress to contemplate suicide. Gigi runs out of the room, crying. Instead of this being a commentary of how patriarchal expectations cause men to hurt the women they claim to love, the film ends up criticizing Gigi’s grandmother. Gaston turns to Madame Alvarez and yells at her for not making life as a courtesan seem more appealing to Gigi, then storms out.

Gigi as Gaston's wife and arm candy — Gigi as Gaston’s wife and arm candy

Gigi later decides she would rather be “miserable with [Gaston] than without [him].” She behaves elegantly on their first date, receiving many appraising stares. Gaston’s uncle proclaims that Gaston chose well, and that Gigi will keep Gaston “entertained for months.” It is this comment from his uncle that makes Gaston question the choice to have Gigi be his mistress. Gaston was raised to be a playboy, but he finds himself wanting more than just “months” with Gigi. He drags Gigi back to her home without explanation, putting her and her family into a panic, afraid of scandal and the ruin of Gigi’s reputation before it started. Gaston, after a long self-reflecting walk, proposes marriage and his request is granted. In the last scene, Gigi is shown in what must be a very uncomfortable outfit as Gaston’s permanent arm candy. While Colette leaves the ending up to us, asking us to reflect on patriarchal treatment of women and what the solution to it might be, the film gives the harmful message that marriage with the man in control and the woman looking pretty and being “entertaining” is the best life choice for all parties.

Heidi Thomas, who adapted the revival of the stage musical, has put more of the story’s focus back on the title character; the choreographer and the director of the revival are both men. As the character Gigi and the actress Vanessa Hudgens have been sexualized by men, and their careers often controlled by men, it seems an odd choice thematically to have men be the ones telling Vanessa Hudgens as her character Gigi how and where to move and working with the actress on how to express what Gigi is feeling. The release of semi-nude and nude photographs of Vanessaa Hudgens in 2007 and 2009 were sexual assaults, yet she was made to apologize for them and to feel ashamed and embarrassed by Disney, her publicists, and various journalists. Now here she is playing Gigi, whose sexuality and sexual expression are tightly controlled while she tries to fight for her own autonomy. Is this really something that the cismale director and choreographer can fully understand? As a transmale who grew up being told by society that I should try to fit myself into a narrow definition of femininity, empathizing with Gigi when she felt uncomfortable during her “lessons,” I still have trouble understanding female perspectives sometimes. Female perspectives are, of course, incredibly varied, which Colette attempts to explore in the novella. However, I am also not female or attempting to live as one anymore, and don’t as many shared lived experiences. Hopefully, an adaption of Gigi will eventually be made which is more fully from the perspective of women.

‘Spamalot’: A Feminist Review

Though ‘Spamalot’ doesn’t greatly improve on the number of significant roles for women, it does add a host of female background performers who appear frequently as well as the show-stealing Lady of the Lake (often dubbed the Diva of the Lake). Though she is primarily a love interest, the Lady of the Lake is also essential as she’s the equivalent of a dues ex machina who solves dilemmas the cast faces, puts them on the right path for their quest and generally inspires enthusiasm in the pursuit of the grail.

Written by Amanda Rodriguez.
Spoiler Alert

I recently went to see a local production of the infamous musical comedy Monty Python’s Spamalot (a Broadway adaptation from the 1975 hilarious Arthurian quest film Monty Python and the Holy Grail) at Asheville Community Theatre. Though running a little long at two and a half hours, I loved it. As a fan, it was wonderful to get to see a theatre company bring to life all the gags, costume changes, ridiculous accents, jokes and songs that make Monty Python so special. As a feminist, I’d like to examine how the theatre production measures up to scrutiny through a feminist lens.

First off, despite my love of it, there’s no denying that the original source material, Monty Python and the Holy Grail, is a sausage-fest. Most of the women are played by men, and the most noteworthy scene featuring women is a bunch of cloistered nun-types at Castle Anthrax who all desperately want to have sex with Sir Galahad (they thankfully omitted this scene in the play). Though Spamalot doesn’t greatly improve on the number of significant roles for women, it does add a host of female background performers who appear frequently as well as the show-stealing Lady of the Lake (often dubbed the Diva of the Lake). Though she is primarily a love interest, the Lady of the Lake is also essential as she’s the equivalent of a dues ex machina who solves dilemmas the cast faces, puts them on the right path for their quest and generally inspires enthusiasm in the pursuit of the grail.

The Lady of the Lake has a lot of tongue-in-cheek meta-songs, and the best one, “Whatever Happened to My Part (The Diva’s Lament),” actually acknowledges how little stage time she’s gotten in comparison to her male compatriots. Though this number concedes that her representation is at best uneven, it doesn’t do much to truly integrate the lone female character into the plot itself.

[youtube_sc url=”https://www.youtube.com/watch?v=ZJqAYUAJbTk”]

In the above clip, we have Sara Ramirez of Grey’s Anatomy fame performing the role of the Lady of the Lake in the original Broadway production. She even won the Tony for Best Performance by a Featured Actress in 2005. I love that a full-figured woman of color was cast in this role, and the world recognized how brightly she shined.

Asheville Community Theatre's Nana Hosmer as the Lady of the Lake — ACT’s Nana Hosmer as the Lady of the Lake

In the Asheville Community Theatre Spamalot production, I was so pleased to see the astoundingly talented Nana Hosmer fill Ramirez’s shoes as the Lady of the Lake. The full-figured diva has a dynamite voice that playfully emulated different musical genres but also shook the rafters with its vibrato. I feel fortunate that I (and all the other theatre-goers) got to see this woman’s powerhouse performance.

The talented Nana Hosmer in Spamalot — The talented Nana Hosmer in *Spamalot*

All in all, though I lamented the lack of female characters and found the number “You Need a Jew” mildly offensive, I was delighted that, though the play felt the need to end with a wedding, it was a gay wedding between Lancelot and the song-loving, fabulous Prince Herbert. I was worried they wouldn’t have the guts for it, but then I remembered, hey, this is Monty Python we’re talking about here. I was, however, the most moved by Nana Hosmer’s Broadway caliber performance. She, along with Sara Ramirez, reminded me how challenging it is for women of color and women with bodies that don’t match Hollywood’s (very thin) standards to find quality roles in films and on TV. I hope this means that theatre is a more welcoming arena that is appreciative of talent and beauty that comes in different shapes, sizes and colors.

Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.