The Pajama Game
at Connelly School of the Holy Child

Reviewed on March 1, 2014

Stephen Coakley
Tuscarora
Submitted for publication to Washington Post - Montgomery

The curtain rises to a factory line of temperamental and exhausted women- women who are determined to obtain the higher wages they deserve, despite the possible love connections that may be forming. Such is the storyline recently performed by Connelly School of the Holy Child in their recent, ravishing production of The Pajama Game.

Based on the novel "7 1/2 Cents" by Richard Bissell, The Pajama Game first hit Broadway on May 13th, 1954, and was the recipient of multiple Tony Awards, including Best Musical. The jazzy and upbeat score is brought to life by Richard Adler and Jerry Ross. Set in Cedar Rapids, Iowa, The Pajama Game follows the Sleep Tite Pajama Factory and its workers who demand a 7 1/2 cent raise. Despite all the animosity, Catherine "Babe" Williams (India Upton), a seamstress at the factory, falls for Sid Sorokin (Andrew Myers) a confident Casanova in management. The Seamstresses and Secretaries and union Prez (Alex Ekam) finally achieve their raise despite efforts from and Vernon Hines (John Anderson), in management.

India Upton was a delight as the determined ingénue, Babe. Her powerful voice had a wonderful and mature control. She also possessed pleasant realism, making her relationship with Myers believable. Her 1950s mannerisms and vocal inflections were extremely convincing and she never lost sight of her role.

As the flirtatious Union President, Alex Ekam was a gut-busting and convincing womanizer. He also presented one of the most impressive vocals of the performance. John Anderson as Hines also earned some well-deserved laughs as he shimmied and twirled around the stage without any trousers. Tahana Augustin also impressed audiences with her powerful vocals and hilarious drunken state.

Perhaps the most impressive performance was given by the ensemble of factory workers. These women were not to be messed with, portraying commanding vocals and clear, individual, and distinct characters, making numbers such as "Racing with the Clock" unquestionably enjoyable.

Technically, the set was creative and impressively executed. The back wall was painted with an array of twisting and turning pipe lines, making it clear the play was set in a factory. Props were also impressive, with tattered and period sewing machines that looked to be straight out of the 1950s. Spotlight effects were also often used, allowing for a clear indication of who was being featured. Costumes were absolutely striking, with hand-made vibrant pajamas assembled for every member of the cast.

Despite some actors not being audible, the cast and crew of The Pajama Game rectified these hiccups with eloquent vocals, impressive acting, and a animated set. Connelly School of the Holy Child gave a show-stopping performance, reminding audiences that with hard work and dedication, one can achieve tasks that seem the almost impossible.

Sarah Santoro
Stone Bridge High School
Submitted for publication to Washington Post - Montgomery

Who knew that working in the pajama industry was anything but sleepy? Full of love, humor, conflict, and turmoil, Connelly School of the Holy Child's production of The Pajama Game was endearing, infectious, and downright entertaining.

Based on the novel 7 ½ cents by Richard Bissell, The Pajama Game opened on Broadway in 1954, with a score by Richard Adler and Jerry Ross. The production won a Tony Award for "Best Musical." It was revived on Broadway in 2006 and 2008, with the 2006 production winning a Tony Award for "Best Revival of a Musical."

In the year 1954 in Cedar Rapids, Iowa, workers at the Sleep-Tite pajama factory are campaigning for 7 ½ more cents an hour, but their boss Myron Hasler (Charlie Gilak) is giving no heed to their demands. The factory's new superintendent, Sid Sorokin (Andrew Myers), falls in love with "Babe" Williams (India Upton), the head of the union's Grievance Committee, despite being on opposite sides of the wage dispute. Meanwhile, Vernon Hines (John Anderson), the time study man, is in love with Hasler's secretary Gladys Hotchkiss (Tahana Augustin) but is suspicious and jealous of her flirty ways. The labor conflict starts to put a strain on Sid and Babe's relationship as the factory workers sabotage progress and threaten to strike if they don't receive the raise. The lovers have to find a way to fight for their love but also stay true to their own goals and beliefs.

With evident skill, the cast of The Pajama Game showcased a myriad of different types of relationships, from friendships to romances to competitors, each believable and convincing. The cat and mouse chemistry between Myers and Upton gave Sid and Babe's relationship a unique element of interest.

Whether performing his rather ill-advised knife-throwing act, singing about all of his second-saving shortcuts, or modeling a pair of defective pajama pants, Anderson's portrayal of Hines was comedic and thoroughly entertaining.

The large ensemble, whether protesting at a union rally, dancing at a company picnic, or lamenting the pains of working in a factory, provided an ideal visual and vocal backdrop for the show. While some members of the cast seemed to lack a bit of energy at times, their handling of the charming and infectious choreography in songs such as "Once a Year Day" and "I'll Never Be Jealous Again" kept the show spirited and entertaining.

The clever, vibrant set was colorful, fun, and well-suited to the mood of the show. It ran the gamut from the factory floor with rows of old-fashioned sewing machines to a scenic outdoor park for the picnic to the seedy, secluded club Hernando's Hideaway to an iconic 1950s kitchen with black and white checked tiles. The variation and creativity set the scene with charm and believability.

The vocal, acting, and technical talents of the students created a lively and engaging performance with their memorable and lovable characters and cheerful, vivid sets. With impressive commitment and skill, the cast and crew of Connelly School of the Holy Child's production of The Pajama Game created a memorable performance.

Nikki Amico
West Potomac High School
Submitted for publication to ShowBizRadio.net

Life can be difficult for 1950s factory workers who are constantly "racing with the clock". But when workers unite for a common purpose they are an unstoppable force; almost as unstoppable as the dynamic energy of Connelly School of the Holy Child's The Pajama Game.

The Pajama Game, based on the novel 7½ Cents by Richard Bissell, opened on Broadway in 1954. It ran for over 1,000 performances and won the Tony Award for Best Musical. The show was revived in both 1973 and 2006, achieving rave reviews and a Tony Award for Best Revival of a Musical in 2006. Because of its great appeal, the show has become a popular choice for many school and community theatres and a classic favorite.

The story follows a group of seamstresses, secretaries, and factory workers all desperate for a 7½ cent raise and recognition from their superiors. Amidst the power struggle, a romance blossoms between the union grievance Committee leader, Catherine "Babe" Williams (India Upton) and the factory superintendent, Sid Sorokin (Andrew Myers). The rest of the cast of quirky characters engages in both love affairs and conflicts of their own, unfolding an eventful storyline that keeps the audience on their toes.

The stage was set in the school's gymnasium with scenery that shone above all other technical elements of the show. The sets, designed by Ren McFaden, Andrea Manchester, and Becky Ward, featured vibrant backgrounds such as the interior of the Sleep Tite factory and detailed office scenery. The costumes were consistent with the bright color schemes, and these elements together created the lively 1950s atmosphere.

The actors also managed to keep up with the 1954 setting, giving performances with accurate mannerisms of the time period. John Anderson, the comedic standout of the show, portrayed the boisterous Vernon Hines with impressive physicality that served the development of his humorous character. The endearing song between Hines and Mabel (Becca Rizkalla), "I'll Never Be Jealous Again" was a highlight of the production, and demonstrated the comedic abilities of both actors and left the audience wanting more. Another notable number was "Once a Year Day", an explosion of energy onstage that displayed the many talented dancers in the cast.

The high points of the show were when the entire ensemble was onstage. Their uniformed belting tone brought the house down in songs such as "Racing with the Clock" and 7½ Cents. With a remarkable sound and full commitment from every single "seamstress" or "factory worker", these ladies had a powerful presence that carried the story. The Pajama Game was a perfect choice for an all-girls school; the strong female characters were the force that gave the show its drive and spunk.

Above all, the production delivered messages of perseverance and love that are as relevant today as they were 60 years ago. Each and every cast and crew member clearly could "hardly wait to wake and get to work" on this show, and their commitment paid off. Charming, jovial and fun, Connelly School of the Holy Child's The Pajama Game left the audience feeling optimistic and ready to start "living like a king".

Elena Schwam
Walt Whitman High School
Submitted for publication to Patch.com - ARL/MC/Mont/DC

Seven and a half cents doesn't buy a heck of a lot, but a ticket to Connelly School of the Holy Child's production of The Pajama Game is worth every penny for a production plucked out of the 1950s.

The Pajama Game is based on Richard Bissell's novel 7½ Cents, and follows the story of garment factory Sleep Tite as the workers demand a raise of seven and a half cents per hour to meet the industry standard. As the union fights the management, the superintendent falls in love with one of the workers. The plot juxtaposes the conflict within the factory and the conflict within their love in this traditional 1950s musical. An all-girls' school, Holy Child has selected a production which highlights many aspects of the 1950s important to women even today, notably the role of men and women in and out of the workplace, consumerism, newfound prosperity, unionism, and most importantly, womens' strength.

The Pajama Game starred actresses from Holy Child and borrowed actors from local schools. Andrew Myers led the cast as executive Sid Sorokin, love interest of Catherine "Babe" Williams (India Upton), the assertive factory worker and grievance committee head. The two made a delightful couple, particularly in "There Once Was a Man," their playful duet. They brought energy and enthusiasm to a difficult number featuring multiple whoops and hollers. Not to be outdone, Tahana Augustin shone as flirtatious Gladys Hotchkiss. She brought laudable variety to the role, from sensual movement in "Steam Heat," to comic delivery throughout, to strong vocals on "Hernando's Hideaway" (olé!).

Engaging supporting characters gave Holy Child's production flair and personality. Alex Ekam brought masterful inflection and natural vocals to Prez, the womanizer who assures every lady that "Her is kinda doll who drives a fellow bats." Another audience favorite was jokester Vernon Hines, played by John Anderson. Hines and secretary Mabel, played by Becca Rizkalla, presented "I'll Never Be Jealous Again" with verve, showcasing how much fun a platonic duet can be. Hines again showed off strong comedic chops in a saucy scene at the company office, exposing some hysterical British undergarments to the indignant factory head Mr Hasler (Charlie Gilak).

The characters' mannerisms, paired with appropriate and numerous costumes, as well as assorted props such as an elaborate picnic entrance, rolling cart, and light-up Hernando's Hideaway sign, transported the show to the 1950s. Additionally, the set crew's use of their space as a factory, including painting and adorning the back wall, was very effective. While the sound crew faced some difficulties with the rectangular, concrete space, all actors reacted well to any microphone mishaps and the show did not suffer much for it. Also, the sound crew was able to show off their skills during the recorder bit in "Hey There," earning impressed nods from the audience.

The Pajama Game would not be complete, however, without Holy Child's cohesive ensemble, who were able to capture the vocal style of 1950s musicals with "Racing With the Clock" and the iconic "7½ Cents." The choreography complemented the music, accentuating upbeat numbers like "Once a Year Day." Dance captain Sara Cangarlu (Doris) added flair to the picnic and the union rally with steps that shied away from Fosse's original style, nonetheless portraying dancing of the era.

Connelly School of the Holy Child's production of "The Pajama Game" earned its p(raise), leading the audience on a whimsical romp through the 1950s, all the while spotlighting important issues of the time.

Zac Nachbar-Seckel
Woodrow Wilson High School
Submitted for publication to Maryland Theatre Guide

The Connelly School of the Holy Child's production of The Pajama Game dazzled audience members with its enigmatic characters, costumes, and energy. Produced in 1954, the musical is based on Richard Bissell's novel 7½ Cents and features a score by Richard Adler and Jerry Ross. It received a Tony Award for Best Musical after its 1955 premiere and again in 2006 for Best Revival of a Musical.

The story revolves around a labor campaign for a 7½ cent raise at the Sleep-Tite Pajama Factory. Amidst the conflict, romance unpredictably blossoms between the new superintendent, Sid, and the leader of the Union Grievance Committee, Babe. As Sid and Babe struggle to make their relationship work despite their opposing sides in the labor dispute, other characters such as Hines and Gladys experiment with love themselves. Holy Child's casting convinced audience members that love really is unconditional.

Leading the cast with engaging charm and charisma, Andrew Myers was the man of the show. He convincingly portrayed the fresh-faced businessman, Sid, with strong acting and singing. Myers shined in songs like "Hey There", where he harmonized with his own voice recording and "There Once Was a Man", a fast-paced duet with Babe. India Upton, who played Babe, also put on an impressive performance. Commendable acting and high, crystal-clear singing made her a crowd favorite. Finally, Hines, played by John Anderson, left the crow chuckling with his ridiculous movements and upbeat singing.

With tremendous vocal performance and remarkable acting, Prez, played by Alexander Ekam, smoothly transitioned between a love aficionado and a chief campaign leader, both of which added dimension to his character. Gladys, played by Tahana Augustin, also contributed notable vocal performances, especially in the sultry Hernando's Hideaway. Other standout actors included the strict, high-ranking Mr. Hasler (played by Charlie Gilak), who managed to be likeable even as a demanding company owner. Mae, played by Maddy Hopkins, also shined in Her Is (Reprise) as an energetic 1950s gal.

Technically, the show had very few issues, excluding some distracting light flashing in the back in some scenes. Overall, the costumes and makeup were pleasing, although it seemed that more could have been done to illustrate the 1950s style and glamour. Choreography was credible, especially in "Steam Heat", where the standout dancers moved precisely together. Stage crew appropriately moved sets quietly and invisibly.

The well-developed characters and factory ensemble work numbers made The Pajama Game a musically sophisticated performance.

Yena Seo
Thomas Jefferson High School for Science and Technology
Submitted for publication to Montgomery Gazette

There once was a man, who loved a woman. Though it may sound like the yawn-inducing premise of another boring plot, Connelly School of the Holy Child's production of The Pajama Game was anything but, as the cast and crew wowed audiences in a jubilant performance heralded by beautiful costumes, remarkable energy and magnificent sets.

Based on the book "7½ cents" by Richard Bissell, The Pajama Game was adapted for the stage by Richard Adler and Jerry Ross, opening on Broadway in 1954 and ultimately garnering a Tony Award for Best Musical. Set in the Sleep Tite pajama factory in the 1950s, the story revolves around the textile workers' demands for a seven-and-a-half cent raise, and the budding romance between the confident head of the workers' Grievance Committee and the new company superintendent amidst the strike.

Due to the all-girl student population at Connelly School of the Holy Child, actors from other schools portrayed the male characters of the show. Portraying the central pair of lovers, Andrew Myers and India Upton connected believably together and had several convincing moments of flirtation, particularly in numbers such as "There Once Was a Man." Myers was magnetic as Sid Sorokin, the endearing superintendent at Sleep Tite, bringing high energy to his performance, while Upton's performance as the tough yet sensible Babe Williams was engaging, and her consistent melodies and chemistry with the other factory workers anchored the production.

Romance abounded elsewhere between quick-witted secretary Gladys Hotchkiss and jealous timekeeper Vernon Hines, portrayed by Tahana Augustin and John Anderson. The duo portrayed the stubborn pair of lovers with high enthusiasm and displayed masterful comedic timing. Additionally, the duet of "I'll Never Be Jealous Again" between Anderson and Becca Rizkalla as Mabel stood out as one of the highlights of the production, as Anderson spun around the stage in a rolling chair declaring his love for Gladys. Another equally entertaining performer was Alex Ekam as the skirt-chasing Prez, whose vocals and dancing skills remained solid throughout the show. Despite occasional moments of awkward physicality and enunciation issues, the entire ensemble was terrific, bringing high fervor and zeal to the production while also showcasing powerful harmonies and impressive dance abilities in large numbers such as "Racing With The Clock."

While many of the technical aspects of Connelly School of the Holy Child's production were brilliantly crafted, the innovative set stood apart in both design and execution. Backgrounds were painted beautifully with clear attention to detail, from the black-and-white checkered kitchen setting at Babe's house to the backwards "Sleep Tite" sign at the factory. A kaleidoscopic range of costumes and a vast array of hairstyles were utilized to transport audience members into the vibrant era of the 1950s. Despite a few costumes appearing to be unfitting with the time period, the many colorful dresses and tops were stunning, particularly the hand-made pajamas seen during the closing number. Props, from a realistic vintage tape recorder to the abundant sewing machines and rolls of fabric, depicted the busy setting of the pajama factory.

Seven-and-a-half cents doesn't buy a whole lot, but Connelly School of the Holy Child's exuberant production of The Pajama Game deserved every penny. Through vivid costumes, intricate sets and unwavering energy, Connelly School of the Holy Child's talented cast and crew presented audience members with a truly enjoyable and entertaining night of theater.