Pajama Game
at Westfield High School

Reviewed on May 9, 2015

Marielle Burt
McLean High School
Submitted for publication to Washington Post - Fairfax

Welcome to the Sleep "Tite" factory: sewing machines a-buzz, workers racing the clock, and egotistical managers watching like hawks. But as this factory staff has an uncanny knack for song and dance, there's never a sleepy moment in the world of Pajama manufacturing. "The Pajama Game" at Westfield High School blends 1950s factory life and vaudevillian musical theatre in an effervescent, assembly line of fun.

"The Pajama Game" rightly holds a place in the cannon of classic musicals. It opened in 1954 with tremendous success, winning the Tony for Best Musical, and in 2006 earned the Tony for Best Musical Revival. George Abbott and Richard Bissell wrote the tongue-in-cheek book, adapted by from Bissell's novel "7 ½ Cents," and Richard Adler and Jerry Ross are the musical masterminds behind the contagiously catchy score. The story follows a group of pajama factory workers in their battle against a priggish, unyielding boss for a 7½-cent raise. The boss brings in a new superintendent, the dashing Sid Sorokin, to keep the rabble-rousing seamstresses in line. But, of course, things get complicated when Sid falls hard for Babe Williams, the head of the company grievance committee and the voice of the union.

Westfield High School's cast was inexhaustibly peppy. Group numbers such as "Once a Year Day" were a delight, as partygoers clad in paisley prints swirled around the stage in a carousel of movement. "Seven-and-a-Half Cents" conveyed a compelling dynamic among the workers, as they joined together to march for their small, but vital pay raise.

Emily Cervarich, as the female lead Babe Williams, had a pure, soprano voice, which she showcased in the country-style tune "There Once Was A Man." Cervarich impressively evolved from a doe-eyed lover in the first act to a fearless leader of the 7½-cent battle in the second act. Playing opposite Cervarich, Andrew Sharpe was the suave superintendent Sid Sorokin. By the end of the night, the star-crossed lovers shared a genuine, endearing chemistry.

Other standout performers included the hysterical Keegan Garant, as an oddball overseer who is always suspicious that his girlfriend is fooling around and Jessica Swanson as the old, snarky secretary who gives him a reality check. Swansons's spitfire teasing and Garant's dopey responses in their song "I'll Never Be Jealous Again" made it an audience favorite. David Keonigsberg, as Babe's nerdy, stamp-collecting pop also deserves a shout out for his spot-on portrayal of a lovable old man. In addition, Meredith Mehegan, a featured dancer in the nightmare sequence "I'll Never Be Jealous Again Ballet," exhibited mesmerizing grace and technical prowess as she flirted with and teased every type of man, from cowboy to sailor.

Many of the production elements were also worthy of praise. The bold lighting included chromatic backlight and hypnotic swirling patterns that set the mood for each scene. Overcoming a few errors, the sound crew fastidiously managed the sound balance by turning down actors' mikes before screams and high belts. In addition, the costumes impressively transported the actors back to the 50s, with knee length skirts and eye-popping patterns.

It's called "The Pajama Game," but there's no way you'll leave Westfield's rousing production with sleep in your eyes -- you'll be too busy smiling and humming a catchy tune.

Charlotte Rodger
Bishop Ireton High School
Submitted for publication to Washington Post - Fairfax

"Seven-and-a-half cents doesn't buy a helluva lot!" Westfield High School presents "The Pajama Game," worth a helluva lot more.

The original Broadway production opened on May 13, 1954, at the St. James Theatre, and ran for 1,063 performances before closing briefly at the Shubert Theatre at the end of the run. It was revived in 1973, and again in 2006 by The Roundabout Theatre Company. The original production won a Tony for Best Musical.

Workers at the Sleep-Tite Pajama Factory are demanding a raise of seven and a half cents an hour but the union's demands are going in one ear and out the other. Meanwhile, a romance is budding between Babe, the grievance committee head, and Sid, the new factory superintendent.

Andrew Sharpe and Emily Cervarich as Sid and Babe, wowed the audience with their stunning vocals in their signature duets "Small Talk" and "There Once Was A Man (I Love You More)". Although the two struggled to find the right amount of chemistry initially, Sharpe and Cervarich had the audience rooting for Sid and Babe's relationship by the closing number. A crowd favorite was Keegan Garant as Hines, the goofy factory time keeper. With exaggerated facial expressions and character voices, he left the audience in "stitches". Garant even showed a wider range of emotion in his song, "I'll Never Be Jealous Again". Embrey Grimes portrayed the flirty yet endearing Prez with great energy and entertained the audience with every scene he appeared in. An especially enjoyable performance was given by Shaina Greenberg as Gladys. Greenberg showed consistency in her character, with great chemistry with each character, fluid dance moves, and pleasing vocals. She showed off her confident yet sweet side in "Her Is", when Gladys sings alongside Prez.

As the saying goes, there are no small roles, only small actors. A standout from the ensemble was Meredith Mehegan as Dream Gladys. Mehegan displayed phenomenal understanding and execution of all types of dance and especially shone in "I'll Never Be Jealous Again Ballet". David Koenigsberg appeared as Pop, Babe's embarrassing father. With over-exaggerated laughs and drawn out stories, Koenigsberg played the perfect dad, earning chuckles from the audience.

The sound was easily the most impressive technical aspect of the show. Despite a few missed cues, mics sounded clear and at proper volume, while sound effects also added to the production. There were many props and costumes, though not all were well made or accurate to the time period. Lights included mood lighting and strobe lights, setting the mood of the scene before an actor said a word. Choreography was complex and highly energetic, though some dance moves were too modern for the 1950's aesthetic.

High energy, complicated dance numbers, and notable tech bring together Westfield's colorful production of "The Pajama Game."

Zoe Le Menestrel
McLean High School
Submitted for publication to FCPS Community News

On the surface, the Sleep-Tite Pajama Factory presents an idyllic picture of corporate bliss. Factory workers sing, merry picnics are had, and joviality permeates. But a closer look reveals trouble: employees are unionizing and want a seven-and-a-half cent raise, the boss refuses to surrender, and to complicate it all, forbidden romance blooms. "The Pajama Game", iconic for its complex choreography and moving songs, was done justice in Westfield High School's rendition of the classic musical.

Based on Richard Bissell's novel "7 ½ Cents", "The Pajama Game" opened on Broadway in 1954. Bissell aided in writing the book, along with George Abbott, while Richard Adler and Jerry Ross composed and wrote the show-stopping songs of this Golden Oldie. "The Pajama Game" was brought to the West End in 1955, was made into a film in 1957, and has been performed countless times by theaters across the United States. The musical features union member Babe Williams and her complex relationship with her supervisor, Sid Sorokin. Though on opposite sides of the fight, they strive to be together, amidst the on-going shenanigans of their co-workers. Westfield's cast and crew provided a hilarious night of stellar entertainment with their take on this fun piece.

Andrew Sharpe and Emily Cervarich adopted the roles of lovers Sid Sorokin and Babe Williams. Their strong voices were keystones of the production, and they carried everything from romantic duets to ensemble numbers with ease. Cervarich had particularly soaring vocals, and throughout the course of the evening, she showed off everything from her mesmerizing soprano lilt to her astoundingly powerful belt. She also suitably grasped Babe's personality, as demonstrated by her strong-willed, passionate performance.

Another tenet of the show was the delightful ensemble of colorfully-attired factory workers. Whether toiling away at their sewing machines or resisting the lecherous advances of union president Prez (played with gusto by Embrey Grimes), they displayed constant engagement and constructive teamwork. This was especially notable in the celebratory number "7 ½ Cents"; the ensemble's cohesive dancing and enthusiastic singing had the audience clapping along. Grimes, meanwhile, was uproariously funny as he fought against the corporate honchos, all while wooing any woman in sight. His brimming energy and unique characterization made him a consistent standout. Two additional comic presences were Keegan Garant and Jessica Swanson who played time-keeper Hines and secretary Mabel. Garant and Swanson both assumed caricatured personas that had the audience in stitches any time they came onstage, and particularly in their charming duet, "I'll Never Be Jealous Again". Two final performers who deserve commendation are dancers Connor Rudy and Meredith Mehegan. Rudy was a dynamic jazz dancer, a superior tapper, and an overall highlight among the male ensemble, while Mehegan was a true joy to watch as she gracefully pirouetted, split-jumped, and captivated the audience in every number.

Technical aspects supported the onstage talent suitably, exceptionally so in the lighting and costume departments. The lighting crew utilized a series of gobos and vibrant washes to professionalize their low-caliber lighting infrastructure and made essential additions to the show. Costumes, meanwhile, were impressive in their scope: 500 plus were acquired! Handmade candy-colored crinolines, featured in "Once-a-Year Day", were creative touches.

Although in our minds, "7 ½ cents doesn't buy a hell of a lot", to Sleep-Tite's employees it means the world. Their roadblocks, frustrations, and ultimate triumphs made Westfield High School's "The Pajama Game" an endearing, entertaining night of song and dance.

Mallory Astrow
West Springfield High School
Submitted for publication to Patch.com - CV

Tick tock, tick tock, tempus fugit. Tick tock, tick tock, time goes by. The nimble fingered cast of Westfield High School's "The Pajama Game" had to hurry up in order to save time in this fast paced production.

Based on the novel entitled "7 ½ Cents" by Richard Bissell, "The Pajama Game" by George Abbott and Richard Bissell with music and lyrics by Richard Adler and Jerry Ross follows the story of the workers at a 1960s pajama factory in their struggle to raise their wages by seven and a half cents. At the heart of the show lies the love story between Sid Sorokin, the new superintendent, and Babe Williams, the Grievance Committee. Unfortunately, when it comes down to the fight for higher pay, the two land on opposite sides and are forced to choose between their beliefs and their love for one another. The show first debuted in 1954 at the St. James Theatre scoring itself three Tony wins, including one for best musical. In 2006, The Roundabout Theatre Company revived the show casting Kelli O'Hara and Harry Connick, Jr. as Babe and Sid respectively.

Westfield's production thrived on successful technical aspects as well as overall commitment to the story. Andrew Sharpe (Sid Sorokin) came in strong with his execution of difficult songs such as "Hey There" and "There Once Was A Man." Emily Cervarich (Babe Williams) built off Sharpe's vocal talent bringing a clear, melodic presence to every song in which she performed. The spirit of the show was carried by Embrey Grimes (Prez). Every scene he entered sparked as he switched seamlessly from detached ladies' man to unwavering factory leader.

The vast ensemble provided many opportunities for individuals to shine. Jessica Swanson (Mabel) created a distinct character and portrayed her flawlessly, never wavering from her commitment. Swanson's choices generated hilarity while they remained sincere to her character's actions and old age. Another standout performer who appeared very few times, yet made a lasting impression was David Koenigsberg (Pop). Much like Swanson, Koenigsberg assigned a very specific personality to his role, successfully fusing his projected age with his naïve fascinations and social skills to create a dynamic character who greatly enhanced the atmosphere of some of the production's more intimate scenes. Meredith Mehegan and Connor Rudy both made an impression through their incredible dancing abilities. Clearly trained in many forms of dance, the pair executed difficult choreography with elegance and ease, raising many of the group routines to another level.

The lighting design for "The Pajama Game" was inspired. The light designers strategically played to their strengths, choosing gobos and colors to accent and highlight specific aspects of a scene. As an added bonus, their custommade Sleep Tite gobo set the scene for the show before the overture even began. To help establish the era, many period accurate costumes highlighted the fun, flirty atmosphere of the 1960s, especially during numbers such as "Once-a-Year Day." Challenging choreography throughout the production greatly enhanced the overall aesthetic of group numbers. The choreography level of difficulty demanded a rise to the occasion which was clearly brought to the table.

After seeing their once-a-year day, it is abundantly apparent that Westfield High School deserves every cent they earn for their performance of "The Pajama Game."

William Shipley
West Springfield High School
Submitted for publication to Fairfax County Times

Last Saturday was Westfield's final production of "The Pajama Game," a musical by Richard Adler, Jerry Ross, and George Abbot, and it was the kind of fun you only have "Once a Year"

Based on the book "7½ Cents" by Richard Bissel, The Pajama Game first hit Broadway in 1954, where it won 3 Tony awards including Best Musical. The show later went on to become a movie starring Doris Day, and was revived on Broadway in 2006 with Harry Connick Jr., securing 9 tony nominations with 2 wins, including best revival of a musical. Following the story of the workers in a pajama factory, the audience meets Sid Sorokin, the new superintendant, and Katherine "Babe" Williams, the head of the grievance committee. As the two rapidly fall in love, labor disputes over the proposed 7½ cent raise threaten to tear the couple apart. Sorokin and Williams must fight to settle the dispute before it drives them apart permanently.

Andrew Sharpe, portraying Mr. Sorokin, drove the story forward and every time he sang he left the audience wanting more of his silky smooth vibrato and impressive range. Sharpe played opposite Emily Cervarich (Babe Williams), whose performance on Westfield's main stage was characterized by talented vocals and a clear grasp of Babe's guarded personality. Westfield's stage was also graced by Embrey Grimes (Prez) whose energy lit up the stage in all of his songs. With vocal, acting, and singing talent, he made quite the triple threat. With the response of the audience to back it up, a clear fan favorite was David Koenigsberg (Pop) who, despite a very brief amount of time onstage, managed to leave the audience laughing after nearly every line, selling the role of Babe's dopey old man with comical physicality, vocal work, and skilled timing.

Featuring several impressive (and very long) dance breaks; choreography in the show stood out. From tap to Fosse, ballet to square dancing, Westfield's cast displayed wide variety in their dancers. The dancing in this show as a whole was one of its high points. In particular, Connor Rudy stood out as one of the most capable male dancers I have seen in a high school production, leading the ensemble in all of the styles mentioned above. In addition, Meredith Mehegan's talent as a dancer could not be overstated; not only was she the lead choreographer, she blessed the stage with a ballet that managed not only to be quite stunning, but also hilarious given the context of her running around behind her spouse's back with a diverse cast of lovers.

Though a seemingly small element in the big picture of a full length musical, sound effects did not go unnoticed. Westfield's sound team produced all of their own sound effects by mixing together sound clips, such as the sound of a lasso and an arrow hitting a tree to play during a knife throwing exhibition. This attention to detail paid off for the team, as they extended it to the rest of their duties. Very few issues with the sound came up, a breath of fresh air among most high school productions.

I'll skip all the "Small Talk," Westfield's production of "The Pajama Game" was a fun show full of solid performers and a consistent technical team. Though the show itself may be dated, this production did a great job of bringing out its hopeful themes of perseverance and love working out in the end, themes anybody can enjoy.

Amita Rao
Centreville High School
Submitted for publication to Connection

Westfield's production of "The Pajama Game" allowed everyone in the audience to have a "Once-a-Year Day" as they watched with wonder and delight. The bright costumes and 1960's style gave the musical an upbeat tone and a fast pace, leaving the audience wanting more.

In 1953, Richard Bissell published the novel "7 ½ Cents", and it became the basis for the widely popular Broadway adaptation "The Pajama Game". When first produced in 1954, it won a Tony for best musical, and as its popularity rose, a movie adaptation followed in 1957. Its overwhelming fame led to the show being revived twice on Broadway, both in 1973 and more recently in 2006, when it won the Tony for best revival of a musical.

Westfield's production of "The Pajama Game" was bursting with the colors and styles that marked the 1960s. During numbers such as "Once-a-Year Day", the audience couldn't help but gaze at the colorful and beautifully crafted dresses that all the females had donned. The girls' costumes looked stunning on stage and fit so perfectly within the era that the audience was left asking themselves if they were looking at a photograph from the time.

The leads of the show, Sid Sorokin (Andrew Sharpe) and Babe Williams (Emily Cervarich) both gave strong performances. Sharpe possessed an amazing low register, which he utilized well during songs such as "Hey There". Babe Williams amazed the audience with her wonderful range, and the subtle beauty of her voice. Her vibrato was natural and very like the style adopted by stars of the 1960s, and her transitions from different registers were unnoticeable, giving her a smooth and charismatic singing style.

The supporting roles were characterized by their strong voices and great energy. Hines' (Keegan Garant) exaggerated physicality never failed to make the audience laugh, and Mabel's (Jessica Swanson) excellent characterization and solid voice quickly made her an audience favorite. The sassy Gladys (Shaina Greenberg) had a strong singing voice and humorous facial expressions, and showed it in classic numbers like "Hernando's Hideaway". The flirty Prez also had an infectiously high level of energy, grabbing the audience's attention any time he stepped out on stage. Another audience favorite was the fabulously played Pop (David Koenigsberg) who displayed commendable comedic timing and characterization. His unadulterated interest in his stamp collection always left the audience in stitches.

The choreography did a respectable job of showcasing the individual talents of the students. Students such as Connor Rudy and Meredith Mehegan displayed their prowess in technical dance in the number "I'll Never Be Jealous Again Ballet". And the audience was amazed at the gymnastic ability of certain performers in the company picnic that took place in "Once-a-Year Day".

Westfield's production of "The Pajama Game" was a wonderful adaptation to a 1960's classic. The bright backgrounds and costumes left the audience feeling excited. The musical was humorous, interesting, and had an ending that left the audience comfortably satisfied.