Guess Who’s Coming to Dinner
Reviewed by Iris Mann
The Ruskin Group Theatre
Through July 17
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This play is adapted by Todd Kreidler from the 1967 Stanley Kramer film of the same title, written by William Rose, who won the Oscar for best original screenplay. The movie starred Spencer Tracy, in his last screen appearance, Katherine Hepburn and Sidney Poitier. The story concerns Joanna Drayton (Mary Pumper), a young white woman who unexpectedly brings her black fiancé, Dr. John Prentice (Vincent Washington), home to meet her ultra-liberal parents. Her father, Matt (Brad Greenquist), publishes a progressive newspaper, and her mother, Christina (Lee Garlington), owns an art gallery. The two parents now have to confront the limits of their professed beliefs.
The film was released several months after the Loving vs. Virginia case, in which a unanimous Supreme Court struck down anti-miscegenation laws. Although mixed race marriages are more common now, recent events indicate that the play is still, sadly, relevant.
Kreidler has wisely kept to the’60s time period. The outdated term “Negro,” is used, there are no cell phones, and costume designer Michael Mullen has outfitted the cast appropriately and tastefully.
While the play is very effective and challenges audiences to examine their own deeply held beliefs, there are some caveats. For example, the fiancé, a respected doctor and author involved in important research, is almost too perfect. What if he were a schoolteacher or a struggling actor? Then there is a scene that feels exceedingly contrived during which Matt and John seem to bond as they enthusiastically relive the 1938 fight in which Joe Louis, an African-American, defeated the German, Max Schmeling, for the heavyweight title. Furthermore, Matt’s reconciliation speech at the play’s end might appear manufactured and too “on the nose,” but for the sincere, skillful delivery by Greenquist. He is also forceful as his character explains that the misgivings he has voiced about the impending marriage stem, not from personal prejudice, but from his fears for the couple’s comfort and safety, based on what he knows about the world as it is.
By the same token, John’s father (Dan Martin) proclaims that he objects to the couple’s union because he has lived the racism that Drayton has merely observed. Martin is emotionally powerful in his delivery and in his demeanor throughout the proceedings. His conflict with his son over the younger man’s decision to marry a white woman represents a clash between the opposing perspectives of different generations.
The two mothers are more willing to accept their children’s relationship. Garlington immerses herself in her character, who is at first thrown off balance by her daughter’s selection of a mate, but ultimately comes to support her daughter’s choice. Garlington’s expressions mirror Christina’s inner life with total involvement. Occasionally, though, she becomes a bit too muted, as though a camera were right up close to her face. The same is sometimes true of Pumper, who has to struggle with aspects of her character. The playwright has Joanna acting overly naïve at times and even foolish in being so blissfully unaware of the objections she may have to face from her family.
Renn Woods, who plays John’s mother, projects just the right amount of woeful wisdom, as she backs her son and ruminates on her belief that older men have forgotten how passion feels, while Vickilyn Reynolds provides some hilarious comic relief as the housekeeper that can also be ferocious when she voices her suspicions regarding the doctor. In his performance as the doctor, Washington, who was a student at this venue’s theater school, the Ruskin School of Acting, proves that he has learned his craft very well. With total conviction, he creates the portrait of an attractive, forthright, and, at times, passionately defiant man, particularly during the conflict between the doctor and his father.
Carl Paul Denk jr. is a leavening presence in the role of family friend Monsignor Ryan, who totally accepts the young couple and accurately appraises the dissenters. Denk could display a little more authority, however, given his character’s position as a clergyman.
Mouchette van Helsdingen does very layered work as the bigoted gallery assistant whose racism is insidiously cloaked in a seemingly helpful demeanor.
Director Lita Gaithers Owen can take credit for keeping the action flowing on the very small stage and for eliciting such capable performances from her cast. Regarding the small space onstage, the talented set designer, John Iacovelli, manages to engender a sense of expansion, and the lovely dining room set he has chosen is a pleasant indication of the Draytons’ upper middle class status.
Ruskin Group Theatre, 3000 Airport Ave., Santa Monica; Fri.- Sat. 8:00 p.m.; Sun. 2:00 p.m.; through July 17. 310-397-3244 or https://ruskingrouptheatre.com. Running time: 2 hrs. with one intermission.
