Tag: Glynis Johns

Women and Gender in Musicals Week: My Top 6 Favorite Female Empowerment Songs in Musicals

After reading Lady T’s fabulous post on “I Am Woman, Hear Me Roar…ish,” aka songs that appear to empower women but really just signal faux feminism, I started thinking about actual feminist songs of female empowerment. Let me tell ya, there’s not a whole hell of a lot out there.

As much as I adore musicals, most songs are about men, either men singing them or women singing about men — men they desire or men who have done them wrong. Where are the songs belted out by the ladies for the ladies?? After perusing my DVD collection, Broadway ticket stubs and good ole’ google, I’ve compiled a list. In no particular order, here are my favorite powerful women anthems in musical film.


1. “Defying Gravity” — Wicked 

Something has changed within me
Something is not the same 
I’m through with playing by the rules 
Of someone else’s game 
Too late for second-guessing
Too late to go back to sleep 
It’s time to trust my instincts 
Close my eyes: and leap! 

[…]

And nobody in all of Oz
No wizard that there is or was
Is ever gonna bring me down.

Okay, so right off the bat, I’m breaking my own rules. Wicked isn’t a movie…yet. But it has been performed at the Tonys, on Glee and the theatre version was written by Winne Holzman, a TV screenwriter. So there you go.
Based on the best-selling Gregory Maguire novel which tells the story of The Wizard of Oz from the perspective of the Wicked Witch of the West, it’s a stellar Broadway musical (read the novel and watch the play if you can; both different, both amazing). Wicked revolves around Elphaba, who becomes the Wicked Witch of the West — intelligent, studious, defiant, strong and outspoken, in short, one of my favorite female protagonists — and Glinda, the Good Witch of the North. It explores prejudice and the notion of good and evil (and who determines those labels). But at its core, the play is about embracing your unique individuality and the power of female friendship. 
In “Defying Gravity,” Elphaba (sung by the stunningly talented Idina Menzel in the role she originated) sings about trusting her instincts, her desire to be free and realizing she possesses all the power she needs inside herself. She refuses to compromise her beliefs and won’t let society define her identity.
I love this story so much, as do countless others. So why haven’t we seen it on-screen?? Why are we getting stuck with the male-centric Oz: The Great and Powerful before Wicked?? It’s a travesty. But it is in pre-production. So hopefully, we’ll see a film version on-screen soon. Until then, I’ll keep pressing the replay button on this video…


2. “I’m Here” — The Color Purple


I believe I have inside of me
Everything that I need to live a bountiful life
With all the love alive in me
I’ll stand as tall as the tallest tree 

[…]

But most of  all 
I’m thankful for 
Loving who I really am.
I’m beautiful. 
Yes, I’m beautiful,
And I’m here.

So, I tried to stick to musical film. But this song is just too damn good not to include on this list. I love the film version of The Color Purple. But I was blown away when I saw it on stage and heard the powerful lyrics. It’s a female-centric musical about Celie, an African American woman in the early 1900s South who faces sexism, abuse, racism and poverty. But through it all, she finds female friendship and a strength she never knew she had. 
There aren’t enough musicals featuring women of color. And there aren’t nearly enough female empowerment songs. That’s what makes the song “I’m Here” so fantastic. Not only is it a beautiful, powerfully stirring song. But it’s sung by a black woman finally realizing her own inner power and self-worth. Celie is a strong survivor proudly declaring herself to the world.
At the end of this video, you can see Fantasia Barrino (who played Celie on Broadway) tearing up, emotionally spent from her wrenching performance, giving it everything she’s got and leaving it all on the floor. More of us need to emulate Celie and say, “Hey world, I’m here. Deal with it.”

3. “Don’t Rain On My Parade” — Funny Girl 

Don’t tell me not to live, just sit and putter 
Life’s candy and the sun’s a ball of butter 
Don’t bring around a cloud to rain on my parade 
Don’t tell me not to fly, I’ve simply got to 
If someone takes a spill, it’s me and not you 
Who told you you’re allowed to rain on my parade 

I’ll march my band out, I’ll beat my drum…

“Hello, gorgeous.” Confession time! I’m kind of obsessed with Babs. Love, love, love her! So yes, she’s here on this list, not once but twice. Uh oh, spoiler alert!

In Funny Girl, Barbra Streisand’s first film, she plays comedian and stage and screen actor Fanny Brice, a role Streisand originated on Broadway. Fast-talking Fanny is convinced she’s going to be a huge star. In her signature song “Don’t Rain On My Parade,” she belts out how she’s not going to let anyone bring down her happiness. Now technically, Fanny is singing about a man. She quits the Ziegfeld Follies to follow her love Nick Arnstein. Yet I still always saw this song as one of female empowerment. Fanny’s going to live her life how she sees fit and she’ll be damned if she’s going to let anyone tell her what to do.

In the end of the play, the tone of which drastically differs from the film, she sings a reprise of “Don’t Rain On My Parade” about picking up the pieces of her life and not only surviving but thriving, holding her head high.

4. “La Vie Boheme” — Rent 

To being an ‘us’ for once 
Instead of a ‘them’ 
La vie boheme 
La vie boheme

Okay, so this isn’t quite a female empowerment song. It’s sung by dudes too. So call it a gender empowerment song instead. Funny, bittersweet and tragic, Rent embraces diversity and the merit of creating your own family and community. A defense of “bohemian” living in the Lower East Side in the 80s, the song sung by the cast of Rent — characters who are straight, lesbian, bisexual, transgender, Latina, and African American — references female artists like Maya Angelou, Gertrude Stein and Susan Sontag. “La Vie Boheme,” and the entire play, openly talk about choice, poverty, HIV/AIDS, homosexuality and bisexuality. And of course I love any song that mentions vegetarian food. No joke.

5. “Sister Suffragette” — Mary Poppins 



We’re clearly soldiers in petticoats, 
Dauntless crusaders for women’s votes! 
Though we adore men individually, 
We agree that as a group they’re rather stupid. 
Cast off the shackles of yesterday! 
Shoulder to shoulder into the fray! 
Our daughters’ daughters will adore us 
And they’ll sing in grateful chorus, 
“Well done, Sister Suffragette!” 
I’ve already written about my unabashed love for Mary Poppins and its accidental feminism. I absolutely adore watching and listening to Glynis Johns as Mrs. Winifred Banks, a mother fighting for women’s right to vote, belting out “Sister Suffragette.” How many other musicals contain overtly feminist songs advocating gender equality and sisterly solidarity? In this age of attacks on women’s rights and reproductive justice, I’m clearly a sucker for a song calling, “Womankind arise!”

6. “A Piece of Sky” — Yentl 

What’s wrong with wanting more?
If you can fly – then soar! 
With all there is 
Why settle for just 
A piece of sky 

One of my absolute favorite films, Yentl is an unusual musical in that all the singing is done by one person, the incomparable powerhouse Babs. (I told you there was another Babs song on the list!) It’s also one of the most feminist films I’ve ever watched.
Barbra Streisand directed, produced, wrote the screenplay and stars as an intelligent and inquisitive woman living in early 19th century Poland disguising herself as a man in order to study Talmudic Law, which women were forbidden from doing at the time. The film showcases female friendship and a female protagonist whose life — even though she idolizes her father and falls in love with a man — surprisingly doesn’t revolve around a man. It questions traditional gender roles, sexuality, patriarchy and ultimately advocates for gender equity.
The song “A Piece of Sky” sums up Yentl’s views, that she wants — no demands — more out of life. That she’s not going to settle for anything less than what she yearns for and she’s going to boldly follow her dreams. Despite the obstacles and constraints of societal conventions, Yentl remains rebellious, assertive and defiant throughout, choosing her own path.
If that’s not female empowerment, I don’t know what is.

Women and Gender in Musicals Week: Accidental Feminism in ‘Mary Poppins’

Julie Andrews as Mary Poppins
“Practically perfect in every way,” declares Mary Poppins, the quirky, assertive and indomitable nanny played with effervescence by stage and screen legend Julie Andrews. For me, that quote could pretty much sum up not only our protagonist but the film itself. 
I’ve been watching Mary Poppins ever since I was about 8 years old. I was forever drawn to books and movies with strong, intelligent and outspoken female characters. And Mary Poppins is no exception. 
Mary Poppins is kind yet stern, possessing a cheerful disposition. Playing games and singing songs, Mary Poppins is the nanny of Jane and Michael’s dreams. She takes them on fantastical journeys into chalk pictures, dances on the roofs of London with chimney sweeps and holds tea parties on the ceiling. Singing about spoonfuls of sugar, she teaches the children how to infuse fun into chores and the value of a positive perspective. She provides the guidance, attention and nurturing they both crave from their parents, especially their father. 
Beyond a strong and charismatic female protagonist, one of the most memorable feminist scenes? Well of course I’m talking about Mrs. Winifred Banks (Glynis Johns) belting out the song “Sister Suffragette.” When I was young I didn’t realize until I heard this song — and heard that “Mrs. Pankhurst has been clapped in irons again” — that women had to fight for the right to vote.

Mrs. Winifred Banks (Glynis Johns)
“We’re clearly soldiers in petticoats, 
Dauntless crusaders for women’s votes! 
Though we adore men individually, 
We agree that as a group they’re rather stupid. 
Cast off the shackles of yesterday! 
Shoulder to shoulder into the fray! 
Our daughters’ daughters will adore us 
And they’ll sing in grateful chorus, 
“Well done, Sister Suffragette!” 

Interestingly, this bastion of film feminism occurred accidentally. Glynis Johns thought she was the one getting the role of Mary Poppins, not Julie Andrews. In order to assuage her potential furor over this fuck-up, Walt Disney told Johns that she had a phenomenal solo. To cover his ass, Disney called up songwriters Robert B. and Richard M. Sherman and said (while Johns was in earshot) that she couldn’t wait to hear the song. The Sherman Brothers quickly researched women’s movements in 1910 England, and wrote “Sister Suffragette” so Johns could hear the song after her lunch with Disney. 

But why did the Sherman Brothers alter the homemaker into a women’s rights activist? Supposedly they needed to concoct a reason Winifred would be away from her children that would make a nanny necessary. So they made her a suffragette, making the movie accidentally feminist. Regardless, it taught many children — me included! — the struggle women endured. 
Now, there are a lot of reasons to question Mary Poppins as a feminist film. 
Carried on the winds by her umbrella, Mary Poppins differs from other nannies portrayed in the film by her fun whimsicality. But her beauty also sets her apart. We see Mary Poppins gazing at her reflection, powdering her nose, and bearing comely rosy cheeks. She is immediately associated as “good” due to her attractiveness.
The film showcases Winifred’s strength to advocate for women’s rights, saying that women will no longer be subservient. Yet that’s precisely what she is with her husband. 
Mrs. Winifred Banks (Glynis Johns)

George Banks (David Tomlinson) fancies himself “a king astride his noble steed,” envisioning his house a patriarchal castle and calling it “the age of men.” He haughtily berates his wife’s choice of nannies, all of who have been “unqualified disasters,” to which she promptly agrees. So George decides to take matters into his own hands and hire a proper nanny. Winifred continually tries to voice her children’s concerns, pointing out that their attempts to help or that they need kindness and understanding. And George continuously puts her down. The personal is political. Yet Winifred doesn’t seem to comprehend that. 
“In six minutes of film time, Mrs. Banks is changed from a balls-out feminist — ‘No more the meek and mild subservients, we!’ — to a surrendered wife. ‘I’m sorry, dear,’ she says. ‘I’ll try to do better next time.’” 
And it’s true. All her feminist badassery seems to unravel the minute her husband strolls through the door. While Winifred remains assertive in her public life, fighting for “political equality and equal rights with men,” in her personal life she speaks her mind yet obediently acquiesces to her domineering and controlling husband’s every whim.
But Winifred steadfastly continues with her suffrage activism even though she knows “the cause infuriates Mr. Banks.” But if she really let him control her, she would abandon women’s rights altogether. Winifred doesn’t cast aside her convictions merely because her husband doesn’t approve of women’s rights. She continues to fight for suffrage.

Some have criticized and admonished her as a mother for neglecting her children in order to attend meetings and protests. I call bullshit. Yes, she’s flighty. But I say her advocacy bolsters her motherhood. She continues to advocate for women’s rights, trying to make the world a more equitable place for her daughter and son. 

While Winifred talks about Mary Poppins to her husband, and how she positively impacts the children’s lives, the two women never speak to one another. Really? They never talk to each other once?? Bechdel Test fail. Weird, especially considering how both Winifred, in hiring nannies and helping preserve the household trinkets during Admiral Boom’s cannon blasts, and Mary Poppins, as a caretaker to the children, occupy domestic spheres.

Julie Andrews as Mary Poppins
With George’s job in banking and Winifred’s suffrage protests, each gains happiness outside the home. But Mary Poppins whole purpose revolves around the home. She flits from household to household healing dysfunctional families. But what about her personal life? We never really know what makes her happy. While she admirably makes her own decisions always on her own terms, Mary Poppins’ maternal role is strictly to serve others.

Even in the end, when she’s about to leave with the changing wind, her talking umbrella complains that the children never even said goodbye. While she clearly cares for Jane and Michael and her parting is bittersweet, Mary Poppins seems content. She’s finished her job and now she can go. Is that the lesson here? That we should sacrifice our own desire and always serve others? That goals other than family and home are detrimental to personal growth and happiness? 

Walt Disney considered the song “Feed the Birds,” his favorite song, the cornerstone of the movie. Mary Poppins sings about the merits of charity and the generosity of love. It’s this song that helps nudge Mr. Banks changed perspective from emotionally detached and controlling to warm and loving. And charity is certainly a noble trait. But is this subtly reifying traditional gender roles? That men are brutish while women are gentle and nurturing?

Jane Banks, Mary Poppins, Michael Banks
In the beginning of the film, George revels in patriarchy. But Mary Poppins challenges his long-held beliefs with her frivolity and refusal to explain herself. By the end, George realizes the value and importance of spending leisurely time with his family. Sadly, it’s not suffrage or feminism that spur him to realize the folly of treating his family like servile subjects. It’s not even a woman — not Mary Poppins, not Jane his daughter or Winifred his wife — who ultimately causes George’s transformation. Bert’s discussion of toiling away at work (“grind, grind, grind at that grindstone”) while childhood and time slip away “like sand through a sieve” tips George’s metamorphosis. 
You could argue that Mary Poppins’ brand of feminism, her outspoken assertiveness, truly changes all their lives. But George still couldn’t trust a woman’s words. He needed a man to reinforce her advice. 
Many have complained about the “perceived anti-feminist ending,” that Winifred gives up fighting for women’s rights because she attaches one of her “Votes for Women” sashes as the kite’s tail. Author P.L. Travers notoriously despised the film, for its animated sequences and for making Mary Poppins character less strict. But she also supposedly hated its anti-feminist ending. 
The Banks Family

 But I never saw it this way.

In the beginning of the film, Winifred gives out various sashes to Ellen the maid, Mrs. Brill the cook and Katie Nana. So clearly she possessed extras. Why assume she was automatically giving up feminist activism? Since George abhorred suffrage, I saw Winifred’s public display of her sash as a union of the personal and the political. She was bringing feminism into her family rather than merely advocating for equality politically. She was no longer hiding her identity. Finally, Winifred let her feminist flag fly. Literally. 

Portraying a suffragette and an outspoken female protagonist, Mary Poppins possesses brilliant moments of feminist clarity. How many other musicals contain overtly feminist songs advocating gender equality and sisterly solidarity? While it simultaneously seems to reinforce the traditional gender roles it initially rails against, the movie forever reminds me of the need for women to speak their minds and fight for their rights, in politics and in the home. 
It may not be “practically perfect” after all. But it’s pretty damn close.