Co-Authors: Albus Wang (ins: @albusw), Yilin Wong (ins: @is_this_finally_my_name)
Published on: June, 27th, 2023
Bottomline, “Transparent” is an extraordinary musical that offers a crucial queer storytelling perspective. It thoughtfully delves into themes such as heteronormative lives, generational trauma, and the profound experience of found family within the queer community. With its captivating two-hour spectacle, the show leaves audiences exhilarated and emotionally touched.
“A Transparent Musical” delves into the poignant journey of an elderly transgender woman and her experience of coming out to her three adult children. While the focus centers around the remarkable story of this “trans-parent,” considerable attention is also dedicated to cisgendered heterosexual women and men. Playing with the idea of binary and unity in every technical and storytelling aspect, this captivating musical provides a unique opportunity to view the world through a queer lens. In the article “A New Standing Order,” the creatives emphasize that queerness is inherently built into the show’s storytelling, and we wholeheartedly agree that this aspect is delivered with utmost excellence.
Yilin, one of our co-authors, coincidentally just started reading Jane Ward’s book, “The tragedy of heterosexuality”, and we found significant parallels between the book and the musical. The musical effectively critiques the scripted lives of heterosexual couples through the portrayal of two prominent pairs. Through Maura and her wife Shelly’s relationship, we witness the idea that “straight culture seems to rely on a blind acceptance that women and men do not need to hold the other gender in high esteem as much as they need to need each other.” Additionally, Sarah’s relationship with her husband reveals how women “learn how to compromise and suppress their disappointment in the service of this need [to need each other].”
In Jane Ward’s book, she argues that “[Straight] men desired women’s services—emotional, sexual, reproductive, domestic—rather than actual women, and they exposed the toll this took on women’s mental health.” This resonates strongly with Sarah’s character, as she tends to all her husband’s needs, gives birth to their child, and takes care of household chores while her husband remains fixated on fantasy football. The exceptional performance by Sarah Stiles truly brought forth the pain and emotional labor that Sarah endures, leaving a profound impact on us as viewers.
Jane’s critique effectively highlights the conformity prevalent among non-queer individuals, as she astutely observes that “everyone more or less follows the same predictable scripts that signal gender success in a given time and place.” Conversely, queer individuals, due to our departure from the established “standing order,” often feel a compelling need to embrace our authenticity at an earlier stage—an opportunity that is not readily afforded to those who identify as non-queer. However, ultimately, we all must confront our true selves without pretense. Shelly, in her younger years, did not question the predetermined path laid out for her and instead conformed to societal expectations of marriage and parenthood, which ultimately led to the subsequent trauma experiences of her children showcased in the number “3 Grown-Ass Siblings.”
The exceptional quality of queer storytelling within the musical is also enriched by the perspective of a transgender individual. While we are familiar with the acronym LGBT, it is essential to acknowledge that the letter in the fourth position, “T,” offers a natural gateway to understanding the queer worldview. Each character’s queerness is authentically portrayed through their clothing choices and mannerisms. Unlike approaches we often see in mainstream media that often focus on the more widely represented Ls or Gs (and don’t even get us started on the Bisexual representation), with scenes featuring explicit homoeroticism as an awkward attempt to “validate” their queerness, the musical takes a rather refreshing route. The narrative presents a new and invigorating point of entry into queerness, avoiding tired stereotypes and offering a genuine exploration of queerness.
“Transparent” also beautifully captures the essence of the “Chosen Family” concept, and we were deeply moved by those moments. As Jane Ward suggests,“If we want to know why many queer people prefer their own company to the company of straights, certainly one answer to this question is about protection and mutual care—we hold each other up in a world that pushes us down.”As we deviate from societal scripts and embark on our authentic paths, we inevitably encounter newfound families along the way. This understanding allows us to empathize with why queerdos would choose to stand together, even in the face of adversity, rather than seek refuge elsewhere. The power and significance of this connection is also encapsulated magnificently in the heartfelt number, “Chosen Family,” leaving very few of us untouched by its emotional resonance.
Other topics such as generational trauma is also touched upon through the exploration of queer ancestors/trancestors. It is intriguing to witness how Maura’s own experience of being told a story about a deviant uncle by her parents had left a lasting trauma. However, when Maura attempts to shield Ari from a similar story, it ends up causing even more pain for Ari. This portrayal highlights the complexities of intergenerational trauma and the unintended consequences of trying to protect loved ones from painful narratives.
Beyond the structure of storytelling, “Transparent” also breaks the binary barriers on a technical level with bold and effective creative choices that create an immersive experience. The space of the stage is extended to a whole new level, as the Mark Taper Forum, an arena theatre, is transformed into this immersive space like never before. Lighting and projection work together to intentionally engage the audience into a world of complexity and tenderness. The fourth wall is constantly broken and that somehow adds an extra layer of believability to the story. All aspects are meticulously crafted and thought out in service of a bright and moving journey about family and self-discovery.
With numerous trans members in the creative team, we are glad to finally see an authentic and masterful musical that successfully captures part of human experience that wasn’t paid much attention. As queer and trans writers ourselves, we want to publicly appraise director Tina Landau, choreographer James Alsop, composer Faith Soloway, scenic designer Adam Rigg, lighting designer Jen Schriever, projection designer Yee Eun Nam, and everyone else in the cast and crew who made our pride month even more special. It won’t hurt if the recording is available to stream or purchase soon because we don’t think we can live in a world without “Deviant”.
References:
A new standing order:
https://www.centertheatregroup.org/news-and-blogs/news/2023/may/a-new-standing-order/
The Tragedy of Heterosexuality:
https://www.goodreads.com/book/show/55214085-tragedy-of-heterosexuality-the