Kaufman and Hart make gender distinctions regarding all named characters in the Man Who Came to Dinner. Some of these specifics (seem to me) play integral roles in the intentions and purposes of certain characters and therefore, drive the action forward. While in other cases, gender could be altered with very few line modifications. For instance, Richard Stanley, the son, could almost effortlessly become a daughter, given his character lacks a love interest or gender driven plot line that would otherwise complicate a swap. Several other minor characters could recieve the same treatment without losing dialogue and mantaining the playwright's intent. Another consideration might be to cast women as men, since the cast is predominately male, to both level the playing field and even enhance comedic endeavors. However, when examining the role of Lorraine Sheldon, the epitome of woman, who acts as a contrast to Maggie and provides the main conflict of the play, the thought of changing her gender seems unnecessary. But the thought of perhaps casting a man in convincing drag would be a fun idea to pursue. Essentially, I don't think gender plays a vital role in this piece and I am all for traditions being abandoned as long as the relationships and characters are distinct, the comedy will surely follow.
The only references to race or ethnicity within the script call for one of three convicts to be African- American and for a scientist to speak with a teutonic accent. In the only production I can reference seeing, the teutonic accent was present whereas the only African- American actors were cast as the Stanley family servants. This choice of the production could be viewed in a less than favorable light. More than likely unintentional, the decision to stick two African- American actors with the stereotyped "simple servant" roles could and would offend audiences. The Stanley family presents the casting director with the choice of going traditional or not. Traditionally, a group cast as a family would be of the same ethnicity and share similar physical traits. This way, identifying characters and relationships are easier established in the minds of the audience and with so many characters in this piece to keep straight, casting similar races for the Stanley family might be advisable. However, if casting non-traditionally, unifying the family with costumes and color would work. Luckily, since there are so many parts other than the Stanley family available, a diverse cast is very possible.
Physical capability matters little in case of Sheridan Whiteside, the main principle, who is in a wheelchair for almost the entire production. However, in the case of many characters the laughs come down to slap- stick and a lot of physical exertion. Much of the stage entrances filter up and down a flight of stairs with all movement required to be very precise and swift to ensure comedic timing and effect.
The only references to race or ethnicity within the script call for one of three convicts to be African- American and for a scientist to speak with a teutonic accent. In the only production I can reference seeing, the teutonic accent was present whereas the only African- American actors were cast as the Stanley family servants. This choice of the production could be viewed in a less than favorable light. More than likely unintentional, the decision to stick two African- American actors with the stereotyped "simple servant" roles could and would offend audiences. The Stanley family presents the casting director with the choice of going traditional or not. Traditionally, a group cast as a family would be of the same ethnicity and share similar physical traits. This way, identifying characters and relationships are easier established in the minds of the audience and with so many characters in this piece to keep straight, casting similar races for the Stanley family might be advisable. However, if casting non-traditionally, unifying the family with costumes and color would work. Luckily, since there are so many parts other than the Stanley family available, a diverse cast is very possible.
Physical capability matters little in case of Sheridan Whiteside, the main principle, who is in a wheelchair for almost the entire production. However, in the case of many characters the laughs come down to slap- stick and a lot of physical exertion. Much of the stage entrances filter up and down a flight of stairs with all movement required to be very precise and swift to ensure comedic timing and effect.
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