A New Dish on Guess Who's Coming to Dinner k k

The landmark 1967 Supreme Court ruling of Loving v. Virginia struck down bans against interracial marriage, only days after filming completed on one of the most influential films on that very subject, Guess Who’s Coming to Dinner (which also serves as inspiration for Who All Over There?). It’s easy to forget how recent this was—only 55 years ago. For context, the guaranteed right for interracial couples to marry is younger than the invention of the computer mouse, actress Halle Berry, and even Cincinnati Playhouse in the Park, which had its first production in 1960. But in 1967, even progressive whites who claimed to support interracial marriages were likely to feel differently once the reality of those relationships knocked on their door. Enter Guess Who’s Coming to Dinner

The Plot Thickens (Spoiler alert for 1967 film!)

In San Francisco, well-to-do liberal Matt Drayton (Spencer Tracy) runs a newspaper while his wife Christina (Katharine Hepburn) owns an art gallery. Their 23-year-old daughter Joey (Katharine Houghton) returns from vacation with her new fiancé, Dr. John Prentice (Sidney Poitier), a 37-year-old Black widower and highly successful doctor who works with the UN and the World Health Organization. Following a tenday whirlwind romance, the two became engaged. John must leave for Switzerland that night for his work with the WHO, and Joey plans to join him shortly, thus wanting to get married as soon as possible. John, knowing how shocked and uncomfortable the Draytons are at the surprise engagement, confides in them that he'll only marry Joey with their permission, but having to leave that night puts a tight timeline on it.

Suddenly, the Draytons’ liberal beliefs are put to the test: are the couple, who raised their daughter not to judge others based on their skin color, actually okay with interracial relationships once their own daughter is part of one? Although shocked at first, Christina comes around, but Matt’s fear of the difficulties the couple will face leaves him reluctant. To add to quandary, Joey has spontaneously invited John’s parents. Like Joey, John hasn’t told his parents about the elephant in the room, and John Sr. and Mary Prentice (Roy Glenn and Beah Richards) are just as shocked to discover that Joey is white.

Christina and Mary, though initially surprised, agree in supporting their children, but John Sr., just as disapproving of the union as Matt, argues with his son. Mary gives a passionate speech about how they all must’ve forgotten how powerful falling in love is. Both fathers are moved by her wisdom, and Matt acknowledges that John and Joey’s decision to marry was never truly in his hands. Before heading to the dining room to finally eat, Matt concludes that while the couple will certainly encounter challenges and discrimination, love will help them overcome.

Mixed Palates

Guess Who’s Coming to Dinner holds a place in cinematic history largely for two reasons. First, it was movie legend Spencer Tracy’s last film as he died ten days after filming. Second, it was one of the first movies to depict an interracial relationship positively rather than something doomed to tragedy.

The film was a box-office and critical hit, becoming the best-selling Columbia film at the time. It was also nominated for ten Academy Awards, winning two; landed a spot in the top 100 greatest movies ever; and further cemented Sidney Poitier (who had already become the first Black man to win a competitive Oscar) as an acting legend, a box-office hit, and a Black icon. It was hailed for its witty dialogue and use of comedy mixed with drama (what we’d call a modern dramedy), leaving audiences both laughing and crying and ultimately leading to important discussions about race.

Even with these achievements, audiences have pointed out some of its flaws. Most notably, Poitier’s character, Dr. John Prentice, is critiqued as being too perfect. How could any parent be against their daughter marrying a charming, well-educated, and internationally renowned doctor? However, director Stanley Kramer and writer William Rose countered that this was intentional. Having John be so upstanding meant that the only possible objections the Draytons could have against his marriage to Joey were his skin color or the short timeline of their romance.

Although groundbreaking, the movie was primarily for white audiences. It was challenging white progressives to come face-to-face with their proposed beliefs and ask themselves if they could walk the walk and not just talk the talk. Many critics think it didn’t go far enough to confront racial prejudice, and even actress Katharine Houghton (who played Joey) admitted that the film likely didn’t do anything for civil rights. Still, the film became a symbol for relationships that weren’t generally approved of, including interracial and queer marriages.

New Recipes

Guess Who’s Coming to Dinner’s legacy continues not just through societal impact but also through new art. A stage play was first produced in 2012 and is now regularly performed around the country. In 2005, the loose adaption called Guess Who, starring Bernie Mac and Ashton Kutcher, reversed the roles (much like our play is doing) by having a Black woman (Zoe Saldana) bring her white boyfriend home. However, that movie focused much more on the comedy of the situation rather than dramatic insight into interracial couples.

Jordan Peele’s hit 2017 horror comedy Get Out also takes inspiration from Guess Who’s Coming to Dinner, but infuses a fresh take. That film presents a similar but modern scenario of a Black man (Daniel Kaluuya) meeting his white girlfriend’s (Allison Williams) liberal parents for the first time. While Guess Who’s Coming to Dinner challenges white progressives to address and recognize their internal bias, ending on a hopeful note, Get Out explores Black horror as it relates modern racism and the systemic exploitation of Black people in an infinitely more sinister plot than its predecessor.

Torie Wiggins didn’t plan for Who All Over There? to be an update to the 1967 classic, but after starting to write it, she understood how it remixed the story, exploring modern interracial relationships, Black experiences within those relationships, and whether love is enough. You’ll soon see how her story has its own differences to the celebrated classic.

KENNETH EARLY (John Martin) is honored to return to the Ensemble Theatre stage to be part of this production. He was last seen at ETC as Aldrin in The Dancing Princesses, and some of his other credits include Pipeline, Red Velvet, The Whipping Man, Grey Gardens, Alice in Wonderland, Snow White, and Around the World in 80 Days. He has also been seen in productions at Cincinnati Playhouse in the Park, Cincinnati Shakespeare Company, The Human Race Theatre Company, and Actors Theatre of Louisville.

BLAKE GEHRING (Scot Lancaster) (he/him) is grateful to be working with Ensemble Theatre for his first time. He received his BFA from Northern Kentucky University, where he studied radio/TV/film and theatre. He most recently attended the Theatre Training Institute under the direction of Ken Jones. Following graduation, Blake spent several years in Los Angeles pursuing acting and stand-up comedy. A few of his favorite theatre credits include Brighton Beach Memoirs, Young Frankenstein, The Shape of Things, The Full Monty, and Dearly Departed. He would like to thank his amazing parents, family, and friends who have rooted him on for nearly twenty years; Lynn Meyers and Becca Schall for the generous film opportunities over the past few years; and everyone else at ETC for this incredible opportunity to work on this stage.

MALIYAH GRAMATA-JONES (Danya Martin) (she/her) is so excited to be back at Ensemble Theatre, where she was last seen as the quiet but fierce #00 in The Wolves. Some of her other Cincinnati credits include Puffs and Red Bike at Know Theatre of Cincinnati, Titus Andronicus at Cincinnati Shakespeare Company, and many beautifully “weird” projects through the Cincinnati Fringe Festival. Maliyah currently lives in Brooklyn, NY, teaches yoga, and is a dog mom to an adorable Doberman pup.

KYNDRA DYANNE JEFFERIES (Petunia "Aunt Toonie" Thompson) (she/her) is excited to be making her debut with Ensemble Theatre, and she couldn’t be more thrilled to join them for the world premiere of Who All Over There? by the accomplished Torie Wiggins. She is a native of Cincinnati and an alum of the School for Creative and Performing Arts. Kyndra has performed in various productions in the area including Disney's Descendants, The Wiz Jr., Annie Jr., Superman, and Mary Poppins Jr., The Children's Theatre of Cincinnati; Bourbon at the Border, Falcon Theatre; Memphis, Loveland Stage Company; and Disney's Newsies, Warsaw Federal Incline Theater. Her film credits include Dark Waters and The Old Man and the Gun. She sends a heartfelt thank you to all family and friends who have supported her while pursuing her passion.