Review of "THE PAJAMA GAME" at The 5th Avenue Theatre — No slumber at this lively party.

The Pajama Game, at The 5th Avenue Theatre in Seattle, now through March 5, 2017, invites your news-weary brain to slip into something more comfortable. But don't expect to get any sleep. This rollicking musical packs great music, dance, and song into a tale of workplace romance, office politics, and labor union woes, all with a happy resolution. Based on a 1953 novel called 7 1/2 Cents, by Richard Bissell, it portrays both romantic and economic conflicts in a story about the struggles employees of the Sleep-Tite pajama factory face when they ask for a raise in that amount. The company's owner, Mr. Hasler (David Pichette), will have none of it and expects his handsome new hire, Supervisor Sid Sorokin (Josh Davis) to support and enforce his views. When Sorokin falls for the union's Grievance Committee head, Katherine "Babe" Williams (Billie Wildrick), the sexual tension heats up, especially with the two of them on opposite sides of the issue. The story is dated, true, but put it in the context of society in the 1950s, get past the issues, and just enjoy it for what it is.

Sid Sorokin (Joshua Davis) and Katherine "Babe" Williams (Billie Wildrick)  in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

George Abbott and Richard Bissell wrote the book for this musical, which first opened on Broadway on May 13, 1954, winning Tony Awards® in 1955 in three categories— Best Musical, Best Performance by a Featured Actress in a Musical, for Carol Haney, and Best Choreography, for Bob Fosse. Richard Adler and Jerry Ross wrote the music and lyrics for this and their other hit, Damn Yankees, before Ross died suddenly and unexpectedly in 1955. Unlike other teams, Adler and Ross were each both composer and lyricist and contributed their skills equally. Post war musicals, like the era's pop music (not counting rock 'n' roll) had a tamer, more civilized sound than during the Swing Years. The energy of The Pajama Game harkened back to the spectacularly jazzy and lively musicals of the 1930s. Tunes like Steam Heat, Hey There, There Once Was a Man, and Hernado's Hideaway thrilled audiences and became hits in their own right. 

Gladys (Sarah Rose Davis) dances at Hernando's Hideaway in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

No group of musicians could have performed these tunes better than the fabulous orchestra at The 5th Avenue Theatre did when I attended on opening night. With musical direction by Joel Fram, this orchestra deserves much of the credit for The 5th Avenue having become the nation's supreme home for musical theater. The 17 members were flawless in their abilities. Even the volume seemed perfect. And speaking of sounds, Sound Designer Ken Travis made magic. Touches like the hiss of steam irons helped bring it all to life.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

Director Bill Berry brought out the absolute best in this talented cast, where even minor parts make major contributions to a production packed full of fun. Here is an Ensemble so full of characters with distinct and memorable personalities. The chemistry of the lead couple felt realistic in their portrayal of the hot and cold, angst and ecstasy of being madly in love.  The first chance to hear Davis sing was his solo number A New Town is a Blue Town. The power of his voice made me eager to hear more. Then, when he and Wildrick sang as a duo, I loved the way their two fine voices seem as made for each other as their characters were. They blended beautifully, which is not always the case. 

Hines (Greg McCormick Allen) and Mabel (Shaunyce Omar) in The Pajama Game at The 5th Avenue Theatre. 
​Photo credit Mark Kitaoka

Other relationships, whether romantic or casual, offered just as much sparkle. Factory foreman, Hines (Greg McCormick) has a serious jealousy problem concerning his flirtatious girlfriend, the boss's secretary Gladys (Sarah Rose Davis). He deals with it (unconvincingly) with hilarious help from the receptionist, Mabel (Shaunyce Omar) in the song I'll Never be Jealous Again. Omar, McCormick, Omar, and Davis all infused their characters with so much personality they will stick in your mind. So will the boss, Mr. Hasler. Pichette gave a fun and fiery performance. So did Taryn Darr as Mae, the hot blooded, redhead union member. Other fine performances were given by Kyle Robert Carter, as the union "Prez," Allen Galli, as Babe's "Pop," and the charismatic Lauren Du Pree in the role of the employee Brenda and as a member of the Ensemble.

Prez (Kyle Carter) and Mae (Taryn Darr) in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Bob Richard's perfect choreography (including the tap numbers I always crave) contributed so much to the revelation of character and emotion, as much as any singing or acting. Director Bill Berry, in addition to allover excellence in direction, would be the one to thank for the impactful touches of physical comedy so important to the enjoyment factor in this production. This cast is obviously having a great time, and the audience feels that vibe. 

Outside of the non-stop movement and actual dancing, the greatest visual impact came from the wow-worthy set designs, costumes, and lighting, by Carol Wolfe Clay, Rose Peterson, and Robert J. Aguilar, respectively. Wooden posts supporting the roof inside the factory magically turned into the trucks of leafy trees in a park or surrounding a house. Period perfect clothing was a delight, and the lighting used during the scene of the company picnic on a summer day seemed so natural I could almost feel the heat. Other times, as in the nightclub scene at Hernando's Hideaway, creative use of lighting made the mood.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Whenever I watch a performance, I think about what it takes, including behind the scenes, to pull a great show together. Everyone involved gives it all they have. However, even as a reviewer who likes to emphasize the positive, I still often observe aspects of plays and musicals that, in my opinion, detract at least slightly. On our long drive home after each show we see, my husband and I discuss and compare our impressions. In this case we heartily agreed that this production of The Pajama Game is a masterpiece, possibly the best musical we have ever seen at The 5th Avenue. Dare I call it flawless? YES! For the first time ever, I will!

I recommend going to the theater's online box office right now to order tickets for The Pajama Game immediately. 

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THE WAIT IS OVER— "Chicago" is at Tacoma Musical Playhouse and it Will Surprise You

 

If your mother ever advised against jumping to conclusions, her words could apply to the latest offering at Tacoma Musical Playhouse—the award-winning Kander and Ebb musical Chicago. The theater opened its 19th season on Friday September 28, with the first of 15 performances of this popular musical, and it runs through October 21.
 



Judging by the roar of applause, it seems safe to say that the opening night audience loved the performance, and no wonder; Chicago became one of the longest-running musicals on Broadway, known for the perfect pairing of its spectacular score with Bob Fosse's choreography. However, if you haven't ordered your own tickets yet because you're thinking "I've already seen that," think again.

The original production of Chicago: A Musical Vaudeville opened and ran for 936 performances before it closed on August 27, 1977. Next came the 1996 Broadway revival version and the 2002 film version. Forget about those last two. Prepare yourself for a far more colorful and, in my opinion, more delightful experience, one much closer to the show's origins. 



photo by Kat Dollarhide



Last week, I interviewed Managing Artistic Director and Co-Founder Jon Douglas Rake to learn more about this production, why it is creating so much excitement, and why he persisted for a decade and a half in his efforts to obtain the rights.

Good Life Northwest: What was involved in bringing this musical to TMP?

Rake: We've been applying for 15 years. Because it's been revived and goes on tour across the United States, they are very, very selective about who they allow to do this show. If it comes to Seattle, that knocks Tacoma out, because it's within a 60-mile radius. So we just kept getting knocked out. Finally, they started allowing more major cities to do the show and we were fortunate to be granted the rights.

Even if people have seen Chicago, I hope they come see this, because it is a much different version than what has been going around the United States for quite a few years, and the Broadway revival.

GLN: How does your production differ from what most people have seen?

Rake: For the revival, they took it out of its time period, and unfortunately it loses some of that cynical and satirical attitude. And you miss that. It loses its poignancy. The movie went back a little more to the period, but you miss the vaudeville part of it. We've put it back into that period and the vaudeville.



photo by Kat Dollarhide

GLN: Can we talk a little about the connections with vaudeville?

Rake: Sure. Chicago takes place in the 1920s, and in the 1920s vaudeville was the major form of theater, along with opera and operetta and all that, but vaudeville was really going strong. So when they created this, they decided vaudeville was a great fit for it, because they were able to poke fun at society and the cops and all of that through using the vaudeville acts. When it comes to the story, they could lighten it up.

And then they decided that because there are all different kinds of acts, some of these—like Mary Sunshine being dressed in drag or the reporters being puppets—just kind of fit the way they were working on the show. The style of the music was also vaudevillian.



photo by Kat Dollarhide

GLN: Why does it mean so much to you, on a personal level?
Rake: It's one of my favorite shows. I saw the original version on tour in 1977, and it made such an impression on me. I'm surprised that after that many years have passed, I remember a lot of details about that show. And I was very young, a student in college. That was when I first saw Fosse choreography and just fell in love with it. As a choreographer, it has always been one of my favorite styles of choreography.

GLN: This is a very colorful, sparkling show with period costumes. It is dazzling on the stage.

Rake: Right. And that's what we were going for. We were going more for the vaudeville dazzle.

In the revival, the cast is in black, very sexy lingerie. There's no essence of the period at all. And there's no set at all. It's just a big staircase of the band, and the band moves forward and back onstage. And whenever there's a chari, the cast brings on a chair. It's just basically showcasing the music and the style of dance. 

 

photo by Kat Dollarhide

 GLN: What about the satire aspect?

Rake: Fosse was going through a really dark period in his life at the time. He was pretty upset or feeling dark about the world. He was having heart problems and woman problems, so he was going through this dark phase. So I think that's what swayed the satire of the show, how he was feeling at the time.

GLN: What special challenges did this production present?

Rake: The first challenge was teaching the dancers the style of choreography. Even if you're a dancer, if you've never done Fosse, it's a different feeling in your body, a different style and different control. So the first challenge with this cast was to teach them how to do the Fosse style.

GLN: What special rewards does it bring to you?

Rake: To see it happen is just a great feeling. To have these dancers doing the choreography I've wanted to do for years is a thrill, and to have such a talented cast as well.

And I'm really pleased with the way the orchestra sounds. It's got a great sound and the audience will have a lot of fun with the fact that the orchestra is onstage and in front of them.

We have patrons who love to come and watch Jeff conduct (He refers to Jeffrey Stvrtecky—co-founder, music director, and business manager of TMP.) And here he is pretty much in the forefront up there. They can watch him the whole time. It's a connection with the orchestra, more so than when they're always in the little pit, or separated from the show. They're integrated into it and they become part of the show itself.


Overture/All That Jazz - Chita Rivera - Chicago: A Musical Vaudeville 

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Just two words from the character Velma offer the essence of my message. As Velma demonstrates, to Roxy, the double act she once had with her sister, she says, "Watch this!" Good advice. And I wouldn't get on Velma's bad side if I were you.

Note: All seating for this production is reserved, so the theater strongly recommends buying tickets in advance. Matinees sell out especially quickly. For ticket prices and ordering information call the box office at (253) 565-6867 or visit www.tmp.org. This show is NOT recommended for youth under the age of 13.

Tacoma Musical Playhouse is located at 7116 6th Ave. in Tacoma. On Fridays and Saturdays the show begins at p.m., at 2 p.m on Sunday, and Saturday Matinees also begin at 2 p.m.

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Copyright 2012 Candace J. Brown