Connick game pajamas

True, Connick doesn't seem entirely at home yet; there's a certain awkwardness to his bearing in some of his moments on stage. But he has a confident stride at other times, and Marshall has seen to it that he looks fine in the dance numbers.

When Connick does seem ill-at-ease, it actually enriches character; this is a Sid Sorokin who has banged around in so many jobs that he's lost a little self-confidence, even though women drool at the sight of him.

Connick goes at a ballad more like Frank Sinatra with a slight catch in his throat than like John Raitt, the creator of the role, who had a more "legit" Broadway sound. When he croons, the audience swoons; "Hey There," which Connick as Sid sings with himself thanks to a handy Dictaphone, is a highlight. And just watch how he fixes co-star Kelli O'Hara with a simmering stare throughout his rendition of the seductive "Small Talk.

O'Hara is a wow. Interestingly, O'Hara has the same strong jaw as Janis Page, who originated the role, and she gets to stick it out prominently during the show -- never more so than in the dynamic "There Once Was a Man" duet, wherein Babe and Sid go at each other like wranglers in World Wrestling Entertainment combat.

While The Pajama Game is something of a star vehicle, a half-dozen opportunities for the secondary leads to shine have been handed out by composer-lyricists Jerry Ross and Richard Adler and librettists George Abbott and Richard Bissell. Making their bid for Tony Award consideration by virtue of all-around sparkle are Michael McKean as time-study man Hines, Roz Ryan as no-nonsense executive assistant Mabel, Peter Benson as nerdy grievance committee member Prez, Joyce Chittick as "Steam Heat" sizzler Mae, and squeaky-voiced Megan Lawrence as Hines's girlfriend Gladys, keeper of the all-important company books.

Every one of them is ushered center stage for at least one show-stopping turn. Tons of gorgeous pictures. Click image to buy. Our Review.

At This Theater. Leonard Maltin's Movie Guide. Go here for details and larger image. Photo: Joan Marcus. One of the chief differences between then and now was that originally the numbers were done "in one" which, as he explained meant that the the songs were done in front of the curtain while the scene change was made in back of it.

With this in mind, the current revival takes advantage of more sophisticated and seamless modern stagecraft but pays homage to the original scene changing curtain with the penultimate scene set against a curtain made of pajama fabrics.