BORN YESTERDAY

Extended cast list
Stills from the production
Magazine review of the play

THEATERS: Lyceum Theatre and Henry Miller Theatre

OPENED: February 4, 1946

CLOSED: December 31, 1949

RUN: 1,642 performances

STARS: Judy Holliday, Paul Douglas, Gary Merrill

PRODUCER: Max Gordon

DIRECTOR: Garson Kanin

WRITER: Garson Kanin

NOTABLE: Judy Holliday's first lead role in a stage
production.

About the play...

       The chaotic origins and monumental success of the play "Born Yesterday" are the stuff of theatre legend. As with many legends, the tales and anecdotes associated with them often become distorted with the passage of time. In this respect, Born Yesterday has proven to be no different. Both the play's producer, Max Gordon, and its author/director, Garson Kanin, claimed to be the first to meet with Judy Holliday with regard to her joining the cast. Each man also claimed the other initially resisted the idea of casting her and had to be talked into it. Discrepancies of a similar nature exist on other points as well. By my count, there are at least four different versions of the events that surrounded the play's pivotal turnaround in Philadelphia. Kanin himself added to the confusion by publishing two conflicting accounts of Judy Holliday's first few days with the production. Apparently the prolific author's talent for rewrites were not confined to film and theatre scripts. All-in-all, the story published in Kanin's 1974 book Hollywood seems to be the most detailed and credible depiction of the events, and as such, it will be among the materials sourced in the paragraphs that follow.

       The play Born Yesterday may have born in America, but it was conceived in Europe. Garson Kanin had worked steadily in Hollywood during the late 1930's and early 40's, directing seven films for RKO Radio Pictures. In the wake of World War II, he put his career on hold and joined the war effort. While stationed in London, he began writing a play for his friend, actress Jean Arthur. Although Arthur's feet hadn't touched a Broadway stage in over 15 years, Kanin was convinced she could succeed if given the right material. The play he wrote combined elements of Shaw's Pygmalion with a comical exposé of corruption in American government. The premise of the work was to show that any one person has the power to facilitate change. To dramatically illustrate the point that the person could truly be anyone, he made the story's heroine unpolished, unaccomplished and uneducated. When Kanin returned home to America, he put the finishing touches on the script and began looking for someone to produce it. He would find a taker in the person of Broadway producer Max Gordon. His track record included several Broadway hits like The Band Wagon, The Women and My Sister Eileen, but Gordon was currently in the midst of a dry spell. As he turned the pages of Born Yesterday, he saw its potential unfolding before his eyes. The play was no sure thing and the script still needed a lot more work, but Gordon liked what he saw and agreed to produce it.

       Max Gordon may have been excited about the show's prospects, but he was considerably less enthusiastic about Garson Kanin's choice for the lead part. He could easily see the box-office value of Jean Arthur's name, but Gordon was leery of her reputation as a difficult Hollywood diva. Kanin, it would appear, was the only one in favor of casting her...and that included Miss Arthur herself. She reportedly did not like the character of Billie Dawn and wasn't very happy with the script either. Despite her reluctance, Kanin managed to talk her into taking the part (a move he later acknowledged was a mistake). Arthur agreed to come aboard, but she wouldn't come cheaply. Her contract called for her to make $2,500 a week plus a percentage of the play's gross receipts. She was one of Hollywood's top movie stars and expected to be treated as such, even in a fledgling play. Her demands included: a personal hairdresser, a chauffeured car and final approval over the show's advertising and the hiring of key personnel.

       The play's other lead character was a gruff and stubborn junk tycoon named Harry Brock. The character's personality traits were modeled on those of Columbia Pictures president, Harry Cohn. While working in Hollywood before the war, Kanin had the opportunity to observe Cohn's tough talk and hard-nosed business tactics. Brock was endowed with Cohn's penchant for young glamour girls, bullying subordinates and uncouth behavior. The character was even named "Harry" as a backhanded homage to the tyrannical studio boss. Kanin had offered the part to Broderick Crawford, but Crawford declined (though he did go on to play the role in the film version four years later.) All other attempts to secure an established actor at a reasonable price had also fallen short. Running out of options, Gordon and Kanin decided to take a chance on a little known actor named Paul Douglas. At the time, he was better known for being a radio sportscaster than an actor. Born Yesterday would be his first major attempt at acting. Although he was light on experience, Douglas auditioned well and his comparatively meager salary helped offset the expense of having Jean Arthur on the payroll.

       Like many plays, Born Yesterday was still very much a work in progress when the production arrived in New Haven, Connecticut for its first week of preview performances. Similar engagements were slated to follow in both Boston and Philadelphia in an effort to hone the show for a possible run on Broadway. On December 12, 1945, Born Yesterday had its world premiere in New Haven. Things went as well as could be expected considering it was the first show of a brand new production. Local theatre critics were not overly impressed though, giving the play mixed reviews. The script bore the brunt of their attack, noting that the comedy was uneven and that the story fell apart half way through the second act. For Jean Arthur the critical response was rather tepid, but newcomer Paul Douglas was praised as a revelation. In addition to the play's on-stage problems, trouble was also brewing behind the scenes. Jean Arthur's list of complaints were growing day by day. She did not like Paul Douglas and detested the fact that he was receiving better notices than she was. Also, her initial reluctance to accept the part was evolving into contempt and regret. She never felt comfortable in the role of Billie Dawn and as a result, she wanted Garson Kanin to make major script changes to accommodate her acting style. She demanded that he cut 5 lines and 2 whole scenes that he insisted were vital to the play. This caused a rift between the two. After playing just a handful of perfomances, Kanin received a note from Jean Arthur asking him to permanently replace her.

       Given the play's abundant script problems, its chances of reaching Broadway seemed questionable at best...even with Jean Arthur. The loss of the show's star could prove to be the fatal final blow. For the sake of the play, Max Gordon suppressed his own misgivings about Arthur and successfully convinced her to remain with the show. No one knew how long her change of heart would last, so Garson Kanin continued to search for a possible replacement. Gossip columnists picked up on the scent of desperation as the play headed for Boston. They speculated that either June Havoc or Ruth Gordon (Kanin's wife) would soon take over the role. Both actresses, however, were currently engaged in other projects and had to be ruled out as options. Kanin did approach five other actresses about the role, but he was promptly turned down by all five.

       The week-long run in Boston had its peaks and valleys. Kanin reworked the script and the production showed signs of improvement. Gary Merrill was brought in to take over the supporting role of journalist Paul Verrall and provided an instant upgrade to the part. With each show, Paul Douglas gained more confidence and his performances became much more dynamic. Jean Arthur opened the run, but grew ill mid-week and missed the remaining performances. Her understudy, Mary Laslo, was forced to take over the lead role. For better or worse, Laslo's performance exposed that the play's success or failure would hinge on the character of Billie Dawn and the presence of the actress that portrayed her. The play was scheduled to begin its Philadelphia engagement on Tuesday, January 8, 1946, but with Jean Arthur's health and commitment both in question, finding a replacement was now the top priority.

       The name Judy Holliday was first suggested to Garson Kanin back in New Haven by the show's wardrobe designer, Mainbocher. The designer spoke glowingly about her supporting turn in the Broadway play Kiss Them For Me earlier that year. Unfortunately Kanin had not seen the show, but did recall seeing her perform with The Revuers in their nightclub act. At the time, he had dismissed the notion, telling Mainbocher that while he felt Judy was a wonderful performer, she just wasn't right for the part of Billie Dawn. The problems in Boston and his new-found sense of desperation now spurred him to reconsider the idea. On Sunday, January 6th, Kanin went to New York City and met with Judy Holliday. She had not worked in the six months since the demise of Kiss Them For Me and she too had an air of desperation about her. The informal meeting went very well, but nothing was concluded other than the fact that she was a distinct possibility. Kanin continued on to Philadelphia, unsure of what was ahead, but feeling like he now had a plan B...something he didn't have just a few hours before.

       The next morning, Jean Arthur failed to appear at the show's rehearsal, but it was still believed she would be able to open the following night. Early Tuesday morning, Garson Kanin and Max Gordon received word that she was leaving the show immediately on the advice of her doctor. Some doubts lingered in their minds as to whether her "nervous exhaustion" was real or just a convenient way to bow out of her contract. Regardless, the play was now without a leading lady and opening night would have to be postponed. Gordon was already making plans to close the show for good, when Kanin suggested playing the Philadelphia engagement with Judy Holliday in the lead. "That fat Jewish girl from The Revuers?," Gordon balked. But Kanin argued that she was "funny and a hell of a good actress." They came to agree on the fact that she was their only hope of salvaging the show and getting the production to Broadway.

       Judy Holliday got the call and arrived in Philadelphia late Tuesday afternoon. She was met at the hotel by Kanin who gave her the script and instructed her to read through it once and then decide if she could do the role. Judy returned two hours later and informed Kanin and Gordon that she would be willing to play the part. Her only question was, "when?" Gordon's staunch reply of, "Saturday," floored her. That meant she would have to learn the entire part and be ready to open with just four days of rehearsal, not the customary four weeks. She pleaded for more time, but Gordon held firm. Word that Jean Arthur had left the show was beginning to spread around town and people were already lining up at the box-office to request refunds. The play was running out of both time and customers. It was going to be Saturday or bust. Kanin escorted the stunned Judy back up to her room and advised her to just concentrate on learning the words for now and that they would worry about the rest later. As the door to her hotel room shut, the countdown clock began ticking.

       Learning the formidable part of Billie Dawn in just four days would be a daunting task for a veteran actress, let alone someone attempting their first major stage role. Judy knew that she needed help and it arrived in the form of two old friends, John Houseman and Nicholas Ray. Both of whom happened to be in town working on a musical called Lute Song. She had befriended John Houseman in the late 1930's during her brief stint as a switchboard operator at the Mercury Theater and valued his opinion highly. Nicholas Ray, on the other hand, was a former boyfriend of Judy's. Together they had endured a rocky romance that ultimately came to an end in 1944. In the year or so since the break-up, their relationship had resolved itself into a friendship. Both men could see that this was her big break and were eager to lend her their support. They spent as much of their free time as they could rehearsing the lines with her and giving her acting tips that they felt could get her through the first few performances.

       If the part of Billie Dawn had driven Jean Arthur to the point of nervous exhaustion, then it had catapulted Judy Holliday to the brink of nervous and physical exhaustion. During the course of those four frenzied days she slept very little, fueling herself with a steady stream of coffee and Dexedrine. The nervousness and her inability to keep solid food down caused her to shed 10 pounds. For the most part, she remained secluded in her room and worked around the clock to memorize the lines. She would only venture outside of the room to attend the play's daily rehearsals. The immense pressure of having the entire show's fate dependent upon her performance, coupled with her own drive for perfection, began to exact a hefty emotional toll on her. She would frequently break down in crying fits during the rehearsals, doubting that she would be able to adequately pull off the part in such a short period of time.

       On Saturday night, January 12th, the curtain went up on Born Yesterday at Philadelphia's Locust Street Theater. The daring souls who braved the harsh winter weather to see a troubled play starring two relatively unknown actors, were justly rewarded with the rich experience of witnessing theatre history first-hand. Despite her self-doubts, Judy indeed went on, and by all accounts, gave a nearly flawless first performance as Billie Dawn. She managed to hold herself together on-stage, but would burst into tears between each scene. She later claimed that the entire night was just a blur to her and that it was like she was walking in a "London fog." The overwhelmingly enthusiatic response of both the audience and the critics confirmed what Garson Kanin and Max Gordon already knew. They had found their new Billie Dawn...and this one was going to be something very special.

       Judy Holliday's triumphant debut not withstanding, the play still needed some more polishing. Max Gordon now had enough confidence in the show's future that he no longer felt the need to rush the show to Broadway. Instead, he chose to take the play to Pittsburgh for a final run of tryout performances. It proved to be the right move. The extra time gave Judy the opportunity to go beyond the written words and begin crafting an actual character out of Billie Dawn, something Garson Kanin admitted that Jean Arthur was either unwilling or unable to do. According to Judy, learning the lines and timing the jokes was the easy part. Adding emotional depth and creating mannerisms for the character proved to be a much tougher task. It wouldn't all come at once, but over time she pieced together an unforgettable character. She invented Billie's sexy walk by watching the way showgirls sauntered about with their hips swinging loose. Later she added Billie's solemn, soulful look by studying her dog's glassy-eyed stare. But right from the start, she knew what Billie should sound like. An amalgam of the voices that she heard growing up in New York and during her many years on the nightclub circuit. She would use that distinctive voice as an instrument to convey all of the unpolished and uneducated qualities that Kanin had originally envisioned for the character.

       Born Yesterday had its Broadway premiere on February 4, 1946 at the Lyceum Theatre. Opening night was the culmination of a lot of hard work and the realization of several life-long dreams. It would be a very long and mostly happy run for all involved. Despite their obvious on-stage chemistry, the two stars were not very fond of each other, however. Paul Douglas relished the spotlight and the praise that was heaped upon him when he was overshadowing Jean Arthur. But, when Judy Holliday joined the production, the roles reversed and critics focused their attention more on her and less on him. This left him feeling bitter and resentful of Judy's success. In the play's most dramatic moment, Harry Brock is supposed to slap Billie Dawn across the face in a fit of anger. The scene is staged with Brock's back to the audience, masking the fact that actor's hand doesn't actually make contact. During one performance, Douglas' spitefulness overcame him and he deliberately slapped Judy hard across the cheek. After that, she never trusted him again and loathed the idea of working with him.

       The show played to sold-out Broadway audiences for almost four years. Judy Holliday rarely missed a scheduled performance or even a rehearsal during that time. On May 24, 1949, she gave her final Broadway performance of Born Yesterday to a packed house and the boisterous standing ovations that she had grown accustomed to. She agonized over the decision to leave the show, but did so in order to make the film Adam's Rib and to bring Billie Dawn to the silver screen the film version of Born Yesterday. The play continued on with Jean Parker in the lead role, but without Judy Holliday, business tailed off sharply. After an astounding 1,642 performances (over 1,200 of which were with Judy in the lead), the play closed on December 31, 1949.

       In the 55 plus years since Born Yesterday debuted in New Haven, many actresses have had the privilege of portraying Billie Dawn on stage and on film. Jean Arthur, Mary Martin, Jean Hagen, Sandy Dennis, Bernadette Peters, Madeline Kahn and Melaine Griffith, just to name a few. But, to this day, and for all-time, the character of Billie Dawn is synonymous with the name Judy Holliday. In just over three and a half years, she created a portrait of the quintessential dumb blonde that has endured and entertained for more than half a century. Judy Holliday once said that she probably owed everything to Billie Dawn, but Billie could just as easily say "vice-a vers-a."

----By Glenn McMahon