Smart ‘Born Yesterday’ scores laughs with theatergoers today
“Born Yesterday,” the 1946 comedy by Garson Kanin, has plenty to say to today’s audiences — even if the occasional antiquated characterization can rest uneasily on the modern theatergoer.
As directed by Tony Simotes for Orlando’s Mad Cow Theatre, though, the show’s elements fit together into a satisfying whole. Later made into a 1950 film, “Born Yesterday” now offers a pointed look at current society through the prism of a different age. I’d say a less-sophisticated age, but one thing “Born Yesterday” shows all too clearly is how far we haven’t come.
The plot centers on Harry Brock, a brash Jersey boy who made his fortune in the trash business. He has come to Washington, D.C., with his squawking showgirl paramour, and drunken lawyer to bribe a congressman. He’s hoping to get laws passed that make him even richer. Meanwhile, he hires journalist Paul Verral to educate his girlfriend so she’ll fit into D.C. society. But the more her mind expands, the more she begins to question Harry’s dubious actions.
The setting is Harry’s ritzy apartment, designed with ’40s flair by Robert F. Wolin.
In the current #metoo climate, there’s a real risk of alienating the audience when a Harry emotionally and physically abuses a woman, all the while treating her as little more than a sexy plaything.
It’s a tribute to Simotes that the despicable actions maintain their shock value without detracting from the comedy. The character’s success is also a tribute to actor Mark “Gray” Miller, who commits to Harry unreservedly and makes him painfully human. Miller deserves the laughs he gets — as well as the disgust he inspires.
Phrases sprinkled throughout the show also bring modern times to mind — usually with a mixture of laughter and despair. “A world full of ignorant people is too dangerous to live in,” Paul says in one key moment. Another bon mot: “Don’t-care-ism is Satan’s key to success.”
Duncan Bahr makes Paul’s idealism relatable, and Holland Hayes’ sousedlawyer bit is good for laughs.
But it’s Jamie-Lyn Markos, as Billie the selfimproving showgirl, who gives this story its heart. The ditzy blonde with the grating voice is a stock character, of course. But Markos makes Billie much more. There’s nary a wink at the audience — Markos plays Billie with complete sincerity, which creates a performance both comic and touching.
You’ll laugh throughout, but you might leave with a rueful chuckle — contemplating how the more things change, the more they stay the same.