Theatre 9/12 takes us back to a classic– Garsin Kanin’s Born Yesterday– at Trinity Parish Church under the direction of Charles Waxberg. With this fateful interpretation to the text, Theatre 9/12 does not fail to deliver a fresh and entertaining production that keeps the audience invested.
Running on Broadway for three years from 1946-49 and adapted into a movie, this play is no stranger to the theatre world. It tells the story of how conniving millionaire Harry Brock ends up at the mercy of his “bimbo” girlfriend Billie Dawn, after he had hired young writer Paul Verral to tutor her to make her more socially acceptable.
Through this play, Kanin explores the dangers of corporate greed and contrasts it with an insistent and optimistic belief in a return to ‘American’ values. With engaging characters, Born Yesterday makes the rapidly changing society of the post World War II era out to be as exciting as it is a slippery slope. The dialogue is quick, and the script leaves no room to second guess the play’s unfolding. The message is as in-your-face as the play’s execution.
This production delivered a bright array of performances, all brought to life in their own special ways when interacting with different characters. David S. Klein as Harry Brock simply shines on stage, honing in the essence of his character effortlessly. It is an impressive performance, save for the occasional mumbling and lack of enunciation, in part due to the echoing quality of the venue and his low voice. Nonetheless, it is a marvel to watch him perform, as he brought out the most intriguing aspects of other characters’ performances throughout the play. Helena Trolli as Billie Dawn is showy and bold, a delight especially in scenes with Klein. Tyler Scowcroft plays Verral with wide-eyed and awkward charm, contributing to the comedy in the play, but also proving to be a shortcoming when it came to the versatility in his performance.
With this interesting blend of character performances and a more lively interpretation of the dialogue than in the movie, the comedy is more or less a hit-or-miss with the audience. The inconsistency in how the comedy is received bleeds into the chemistry between the Trolli and Scowcroft love pairing. Scowcroft resorts to outlandish physical comedy to act sexually flustered, where I believe a more subtle approach could be more effective and equally amusing.
Costume changes are done swiftly and intentionally, not taking away from the play’s course of action. One can find subtle satisfaction in noticing the choices of costume– both deliberate and small. For example: finding character development in Billie’s change of dress, the detail of a taken-off coat as an indicator of Harry’s character.
The stage is set with a table and two chairs on the elevated stage, and a sitting area with a bar cart below. The audience is level with the sitting room, immersing us into the play’s events. But even at its most entrancing, we are never fully within the moment, as the venue was considerably well-lit, and the walls bounced sound back to us– each a reminder of the audience’s status as a bystander. Additionally, depending on where one is seated, the view of the play can be hindered by another spectator in the row in front, or just simply from being blocked by where the actors are positioned.
That being said, Waxberg’s rendition of Born Yesterday is ultimately worth your watch. With a Pay-what-you-can policy, the play is both accessible as it is enjoyable. I would recommend it to anyone who enjoys a good classic.
Born Yesterday, Theatre 9-12-Actor Development. Trinity Parish Hall, 609-8th Ave, Seattle, WA 98104 (First Hill) Fri, Sat. 8:00 pm. Sun 2:00 matinée. Mar. 3 to March 26. All shows Pay What You Can. Info: www. theatre912.com