By Lauren Bell
If you’re like me, you’ll recognize Constance Wu from the movies Crazy Rich Asians (2018) and Hustlers (2019), but you may also recognize her from the sitcom Fresh Off the Boat (2015–2020). Making a Scene is her memoir in essays about her life; from growing up in Richmond, Virginia to discovering community theatre and “making it” in Hollywood. That is the synopsis on the back of the book—however, after reading the book (or to be more honest, even just from reading the introduction), I have come to reject that description. On the whole, it is much too surface level of a depiction, especially when the point of Wu’s book is to “make a scene” or make meaning out of her experiences—regardless of how ordinary or mundane they may seem on the outside.
As the summary describes, the title comes from Wu being told “good girls don’t make scenes” growing up, but also from a time when she wanted to give her unnamed character (“Girl”) her own story. I believe this is what Wu wanted to do with her essays—name the background individuals, give them histories, and find themes in the beginning, middle, and end of her essays. Because of this, you don’t mind reading about the mundane and ordinary things in life because Wu writes them to have significance.
Her essays are not told in chronological order, nor are they placed by significance, but rather as to reveal another trait or layer to herself: passionate, hardworking, stubborn. Some of the essays I particularly enjoyed were “Montana Gold,” where she describes working in a bread bakery, And “Of Course She Did,” about a traumatizing elementary teacher she had.
I picked this book to read not as a superfan but as someone who enjoys reading memoirs, and curious about the actress that starred in two movies that I enjoyed. Moreover, I was also interested in her perspective on being an actress in a whitewashed industry and in the #MeToo era. She discusses this in the essay “Jurassic Park,” where she uses an analogy to the T. rex to explain the mix of emotions she felt toward her cultural identity from working on Fresh Off the Boat. “Do As I Say” is probably the other most important essay on her career, because this is where she describes the series of events (instances that readers may already be aware of) that pushed her into choosing to step out of the limelight and prioritize her needs by seeking handpicked roles over publicity-based ones. My respect for Wu sincerely grew after reading that essay and her unheard media narrative, not only for the bravery it takes to put her peace first but also for rejecting the media’s perception of being a successful actress, and truly dedicating herself to her art. What I have also come to admire about Wu is her unwavering ability to hold herself accountable for her actions, whether they be from serious mistakes (e.g., her cruel relationship to her younger sister), or less scarring ones (e.g., writing “penis” all over the set of Fresh Off the Boat).
I would recommend Making a Scene to readers like myself, vaguely aware of Wu and curious about her life, but also superfans, or individuals who haven’t heard of her at all. I think each reader would come out with something different, but still feel the underlying theme: that we are all complex, multifaceted individuals that shouldn’t be held hostage to one image of us.
Thank you to Simon & Schuster Canada for the complimentary copy in exchange for an honest review.