If you’ve watched P.T. Barnum dance across the screen in a whirlwind of CGI and catchy pop-anthems, you’ve probably found yourself wondering about the trapeze artist with the striking rose-colored hair. Zendaya’s performance is magnetic. But it leaves one nagging question for anyone trying to piece together the logic of the "Oddities" in the film: why is Anne Wheeler a freak in The Greatest Showman when she looks, well, like a movie star?
Honestly, she doesn't have a beard. She isn't seven feet tall. She doesn't have scales or three arms. To a modern audience, she’s just a gorgeous athlete. But in the context of the 19th-century setting of the film—and the harsh social hierarchies of the time—the answer is much more grounded in the ugly reality of American history than in physical "abnormalities."
The Visual vs. Social Reality of the Circus
The movie plays it fast and loose with history. Hugh Jackman’s Barnum is a dreamer; the real Barnum was a lot more complicated (and often exploitative). In the film's universe, the "freaks" are a collection of people that society has deemed unlovable or unsightly. Anne Wheeler and her brother, W.D. Wheeler, are professional trapeze artists. They are physically fit, incredibly talented, and visually stunning.
So, what's the deal?
Basically, Anne is labeled a "freak" because she is African American.
In the 1800s, especially in the high-society circles that Phillip Carlyle (Zac Efron) frequents, being a person of color was enough to be considered an outsider, a curiosity, or "other." The film uses the circus as a metaphor for a sanctuary where those rejected by the "civilized" world can find a family. For Anne, her "oddity" wasn't something she could wash off or hide; it was the color of her skin in a deeply segregated and racist Victorian era.
Why Race is the Central Conflict for Anne and Phillip
The romance between Anne and Phillip is arguably the emotional heart of the movie, even more so than Barnum’s obsession with Jenny Lind. When they go to the theater and Phillip’s parents see him with Anne, their reaction is visceral. They are disgusted. Not because she’s a circus performer—though that’s a lower-class job they despise—but because of the interracial nature of their relationship.
This is why the question of why is Anne Wheeler a freak in The Greatest Showman is so poignant. The film intentionally contrasts her physical beauty with the ugliness of the prejudice she faces.
👉 See also: The Real Story Behind I Can Do Bad All by Myself: From Stage to Screen
She isn't a "freak" because of a biological mutation. She is a "freak" because the society of the time was broken.
Think about the song "Rewrite the Stars." The lyrics aren't just about two people from different social classes. They are about the "mountains" and "walls" built by a society that legally and socially forbade their union. While the film doesn't explicitly dive into the Jim Crow laws or the specific historical nuances of the mid-19th century, the subtext is screaming at you.
Anne’s pink hair is a stylistic choice by the filmmakers to make her stand out visually among the other performers, but it also serves as a brand. In the circus, you lean into what makes you different. If society is going to call you a freak for being Black, you might as well put on a wig, grab a trapeze bar, and give them a show they’ll never forget.
Breaking Down the "Oddity" Archetypes
Barnum’s circus was a mix of genuine medical anomalies and "manufactured" wonders. If we look at the lineup, we see a clear divide.
- Lettie Lutz (The Bearded Lady): Based on real-life figures like Josephine Clofullia or Annie Jones. Her "freak" status is based on a physical condition (hirsutism).
- Charles Stratton (General Tom Thumb): A man with dwarfism.
- The Tattooed Man: Someone who chose to alter his body.
- Anne and W.D. Wheeler: People whose "freakishness" is entirely defined by the racial prejudices of the audience.
It’s kind of brilliant from a screenwriting perspective. By placing the Wheelers in the same category as the Bearded Lady, the movie makes a bold statement: prejudice against someone for their race is just as arbitrary and cruel as mocking someone for a physical disability or a rare medical condition.
The circus is the only place where these differences are celebrated rather than persecuted. When Anne is in the ring, she is a queen of the air. When she steps outside onto the streets of New York, she is someone who has to enter through the back door.
The Historical Context: Were There Black Performers in Barnum’s Circus?
The real P.T. Barnum did indeed employ people of color, but it wasn't exactly the "found family" vibe depicted in the movie. History is much darker. One of Barnum’s first "exhibits" was an elderly Black woman named Joice Heth, whom he claimed was 161 years old and the former nurse of George Washington. He exploited her cruelly, even performing a public autopsy on her after she died to "prove" her age.
✨ Don't miss: Love Island UK Who Is Still Together: The Reality of Romance After the Villa
Anne Wheeler herself is a fictional character. She wasn't a real person in Barnum’s troupe.
By creating Anne, the filmmakers were able to tell a story about the "internalized" freak status. Anne spends much of the movie believing she doesn't belong. She pulls her hand away from Phillip because she knows the cost of his association with her. She has been conditioned by the world to see herself through the lens of a "freak," even though she knows she is a talented artist.
The Power of the Pink Hair
You've probably noticed that Anne's hair isn't a natural color. It’s a vivid, bubblegum pink.
In a movie filled with vibrant costumes, this is a deliberate design choice. It signals her status as part of the "other." In the 1800s, no "proper" lady would have dyed hair like that. It’s a badge of her circus identity. It says, "I am not trying to fit into your world."
Interestingly, when we see Anne in more private moments, she often keeps the wig on. It’s become her armor. It’s part of the "Anne Wheeler" persona that allows her to fly above the people who would normally spit on her in the street.
Why This Question Still Matters Today
People keep asking why is Anne Wheeler a freak in The Greatest Showman because, on the surface, she’s the "least" freakish person there. She is the conventional ideal of beauty.
But that’s exactly the point.
🔗 Read more: Gwendoline Butler Dead in a Row: Why This 1957 Mystery Still Packs a Punch
The movie wants you to feel the injustice of it. It wants you to look at Zendaya—someone who is undeniably stunning and talented—and feel angry that she is being treated as a sub-human "oddity." It’s a tool to make the audience empathize with the broader concept of the "outsider." If even someone as perfect as Anne Wheeler can be cast out, then the problem clearly isn't with the "freaks." The problem is with the people in the stands.
Key Takeaways from Anne's Story Arc:
- Identity is a Construct: Anne is only a "freak" because the elite class decided her race made her one.
- The Circus as a Safe Haven: The ring is the only place where her "otherness" is converted into "greatness."
- The Sacrifice of Love: Her hesitation with Phillip isn't lack of interest; it's a survival mechanism. She knows how the world views her, even if he wants to "rewrite the stars."
- A Symbol of Modern Resonance: Her character bridges the gap between 19th-century history and modern conversations about belonging and race.
How to Apply These Insights
If you're analyzing the film for a class or just want to understand the subtext better, look at the scene where Phillip’s parents insult her. Notice how they don't mention the circus first. They focus on her "class" and her background.
To truly understand Anne Wheeler, you have to look past the trapeze and the pink wig. You have to see the woman who is navigating a world that refuses to see her as an equal.
If you're writing about this or discussing it, avoid the trap of looking for a physical "deformity." You won't find one. Instead, look at the social landscape of 1850s America. That’s where the real "freakishness" lies—in the hearts of the bigoted, not in the performers under the big top.
Next Steps for Deeper Understanding:
- Watch the "You Are the Light" sequence again. Focus on the body language of the townspeople compared to the circus troupe.
- Research the real Tom Thumb and Lettie Lutz. Compare their historical treatment to the idealized versions in the film.
- Listen to the lyrics of "This Is Me." Notice how the song serves as an anthem for everyone, regardless of whether their "difference" is physical or social.
- Compare Anne Wheeler to Jenny Lind. Both are performers, but one is "reputable" and the other is a "freak." Ask yourself why the theater is considered high art while the circus is considered low-brow. Hint: It usually comes down to who is allowed in the front door.
Understanding Anne Wheeler is about understanding that the "Greatest Show" was a place for anyone who didn't fit the narrow mold of Victorian perfection. Whether it was because of a beard, height, or the color of their skin, they were all in it together. That’s what makes the movie work, even if the history is more than a little bit "rewritten."