The Benicia Old Town Theatre Group cast of “Born Yesterday.”
Galen Kusic, Editor
There aren’t enough words to describe how incredibly perfect the final show of Benicia Old Town Theatre Group’s (BOTTG) “Born Yesterday” was executed on Sunday, Nov. 10.
Director Carlene Collier Coury, the production staff and the cast all did a tremendous job producing Garson Kanin’s 1946 Broadway play, which was adapted for the big screen in 1950, starring Judy Holliday and Broderick Crawford.
In our current political climate, “Born Yesterday” couldn’t have been a better choice. With so much corruption, lobbyist influence and corporate control in politics, the play examines our country’s moral compass and questions if our democracy can actually survive the way America’s founders intended it.
The play was dedicated in memory of Dan Clark, who passed away on Oct. 10. Clark had been with BOTTG for over 40 years, and was a staple in all aspects of production. His love and dedication to his family, theater and BOTTG were endless.
Born Yesterday, a 1946 play by Garson Kanin was performed by the Benicia Old Town Theatre Group, now in its 56th season.
The play features Harry Brock, (played by Patrick Kenney) a sleazy business man and junkyard millionaire kingpin. He comes to Washington, D.C. with the intent to bribe and influence politicians, specifically Senator Hedges (played by Michael Lester).
Brock is so arrogant and confident that he can’t be stopped, it becomes his ultimate demise. His fiancée, Billie Dawn (played by Camille Cooney) is a little rough around the edges. She came from a poor upbringing and doesn’t have much of an education, which spurs Brock to “smarten her up.” He is extremely abusive toward her, and discounts anything she says.
New Republic journalist Paul Verrall (played by Nicholas Dahlman) has already heard about Brock coming to Washington and sets up an interview immediately. In Brock’s brash arrogance, he believes that he can corrupt Verrall and eventually pays him $250 a week to “teach” Billie how to be sophisticated and fit in with Washington’s elite.
Only his plan backfires, as Brock has already made Billie a part owner of his empire to falsify his taxes. Verrall begins to bring Billie newspapers and books, while helping her with grammar. The two eventually fall in love, both turning against Brock to expose his shady dealings and bring him down.
Harry Brock (Patrick Kenney) and his fiancee Billie Dawn (Camille Cooney).
While Brock’s drunkard lawyer, Ed Devery (played by David Foushee) advises him to get married to Billie, Brock thinks he is untouchable and continues to make shady deals, boasting that “he can move scrap iron and sell it” to anyone, attempting to expand to Europe.
After Billie continues to read the newspaper and books, she catches on to Brock’s scheme to influence the senator. Together, her and Verrall swipe several important documents that needed to be signed by Billie, with proof to expose Brock that he bribed Senator Hedges with $80,000.
All the actors did a tremendous job, with Kenney playing the vile, violent Brock to perfection. Dahlman nails the role of Verrall, providing humorous wit and poignant observations on the erosion of America’s democracy and the need for an independent free press, clean from corruption or big money influence.
“It’s my job to find out what goes on and get it to the people,” Verrall says.
Cooney plays Billie masterfully, earning the audience’s approval through perfectly carried out humorous lines, transforming into a strong, independent and intelligent woman that realizes her power and uses it for justice.
Michael Lester in his first time on stage played the Assistant Hotel Manager, barber and Senator Hedges.
“I’m not gonna take it from you (Brock) or anybody else anymore,” says Billie to Brock as he realizes he has no more control over her.
Foushee’s role as the sleazy, drunk lawyer was excellent and hilarious, while Lester’s role as the corrupt and meek senator was on point.
The actors bring you into the story like it was all really happening before your eyes in Suite 67D. This play was as good as any you’ll see, representing a search for truth and fight for justice.
With relevance to the suppression of freedom of the press and “fake news,” along with the #MeToo movement and political corruption, the play draws attention to problems that are still huge issues 73 years later. This timely, intelligent and funny romantic comedy was enjoyable for all ages with quick-paced humor and extreme attention to detail.
If you haven’t already had the pleasure of viewing a BOTTG production, make sure to catch the next show in April, titled, “Laura,” a play adapted from the 1944 film directed by Otto Preminger.
Publicity photos by Michael Van Auken
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