This thread has completely jumped the shark.
The original post was clearly not proposing willy nilly giving a role identified as female to a man (as in Jordan's apt example of the, er, folly, of having a 300 pound man playing Phyllis) or giving a role identified as male to a woman, as an analog to race-neutral casting.
It also wasn't about drag casting (either in its conventional or camp traditions, as exemplified by the Tudor and early Stuart stage, Divine, or the Takarazuka Revues, or in its realistic form as exemplified by Bedford's extraordinary Lady Bracknell).
It was about purposely revising a script to change the gender of a character, maintaining the character's general situation in the plot but giving the piece a different take - and hopefully with some relevant purpose - by altering the gender makeup of the dramaturgy.
They are two, or rather, three, very different things.
Updated On: 10/11/11 at 01:40 PM