Review: Untitled f**k m** s**g*n and the pitfalls of ‘The Good Immigrant’
Photo Courtesy: Young Vic, Richard Davenport – The Other Richard
Untitled f*** m** s**g*n, a ground-breaking play directed by Kimber Lee, has travelled far from its origins on Broadway to the Young Vic Theatre in London. Its residency continues until 4th November this year and manages to remain an informative, empathetic and amusing play.
The play satirically re-enacts various tropes pertaining to East Asian women, illuminating similar tropes regardless of country; from Vietnam to the South Pacific. Not only do many Western media depictions of East Asian women allow for stereotyping, but they don’t even attempt to differentiate between said countries.
Each storyline represents the same ‘sexually exploited’ woman (with the name, Kim, throughout.) These stories also include Kim’s mother, who in all circumstances, is eager for her to sell off her sexuality in pursuit of a better life, or rather the American dream. The play fast forwards to the 21st century where Kim is now in America, having grown up as a second-generation immigrant, but still feels trapped and exhausted by the obstacles that face many East Asian women today. Her attitude is directly contrasted by her mother, portrayed by Lourdes Faberes, who delivers a moving speech showing gratitude toward progress in lieu of anger at the current situation.
Over the course of the play, what touched me the most was the notion of the ‘good immigrant.’
Kim’s mother declares in her speech, “Being born somewhere doesn’t mean that you are not a guest.” A sentiment that many first, second, or even third generation immigrants may share. And as a guest in someone else’s house, you are taught to be grateful, respectful, and never speak out of turn.
Kim’s mother believes in being grateful for any Asian representation in the arts, even if those representations take the form of ‘Miss Saigon’ or ‘The World of Suzie Wong,’. However, both play into harmful Asian stereotypes which continue to haunt modern culture. Kim’s mother lived in a time where representation wasn’t possible. She informs the audience that “some of us remember a time when we were not seen at all.” The Mother sees Kim’s issues as trivial, privileged and often self-inflicted. Yet Kim’s episode which is brought on by the effects of stereotypes and generational trauma, is exacerbated by having everyone attempt to silence her. Kim is straying from the good immigrant role; she is speaking her mind and the people around her will not stand for it.
A misguided attempt to show empathy is offered by Evelyn, Kim’s brother’s white fiancée. Evelyn's demonstration of solidarity, remarking on her understanding due to her struggles as a woman in the workplace represent white feminism at its finest. However, whilst irritating to Kim, Evelyn’s offer of empathy seems to be much more palatable to the other characters than facing Kim’s very real issues head on. All the stereotypes that the play touches on are about the palatability of the ‘good immigrant’. These tropes play into the idea that all immigrants are so desperate to flee their countries to America that they will give anything up encourages the rhetoric that immigrants should be grateful for what you have.
Although satirical, the underlying truth behind the meaning of Untitled f*** m** s**g*n hits home and will for many minorities who have suffered historical oppression. Throughout the play, people’s laughter, depending on their perspective or experience, served as a reminder of how far-removed people who are not in your position can be from your struggles. Perhaps even that however far we come, true empathy is still hard to achieve.