Pajama Sam Play Online

[Eustacio Gadit]

Theunique MUG duals as a pajama party onboard. Players and fans alike are encouraged to wear their best set of nightwear to the event. MUG participants wearing pajamas will be entered into a drawing for a $5,000 WPT Voyage Championship seat, which they will get to utilize the very next morning when the $1,000,000 guaranteed event makes way.

WPT Voyage promises to be a one-of-a-kind poker getaway. Featuring a full slate of 20 tournaments and $1.5 million in guaranteed prize pools. Players can look forward to an exciting week of poker action as well as stops in the Cayman Islands and The Bahamas before returning to Florida April 6.

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It's time for bed - time to pick up our toys, take a bath time, brush our teeth and put our PJs on to end the day. But wait! What's that noise I hear under my bed? Where's my teddy bear? See how bedtime can really be a blast in this creative and cozy 20-minute musical play for little ones in Grades K-2. The all-in-one performance package includes a Teacher Book with piano/vocal arrangements, simple movement ideas and a helpful production guide. The included audio offers performance and accompaniment-only recordings with a melody instrument to help guide these young singers for a variety of rehearsal and performance options. Teach the songs by rote or, for additional reading challenge, use the reproducible & projectable song and lyric sheet PDFs also found on the enclosed disc.

The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

ScorePlay - click to view score with recording.

It was a creative flowering so undeniable (producing a decade of pictures like Oklahoma!, Guys and Dolls, South Pacific, The King and I, West Side Story, My Fair Lady, The Music Man and The Sound of Music) that no one seemed able to accept that its moment was ending when it finally came in the second half of the '60s. Moving a musical from the stage to the screen (Evita, Chicago, Hairspray, Rent, Jersey Boys, Matilda) is still the most reliable way to make a movie musical today.

In The Pajama Game, which opened on Broadway in 1954, Day plays "Babe" Williams, the head of the grievance committee and a union stalwart at Sleeptite Pajamas, where workers are preparing to lock horns with the factory owner, Mr. Hasler (Ralph Dunn), over a seven-and-a-half cent hourly raise. Into this battle steps Sid Sorokin (John Raitt), who convinces Hasler to hire him as superintendent and keep the workers in line.

Given the situation it would be a bad idea for Babe and Sid to fall in love, but that's exactly what happens, mostly because it's impossible to put people who look like Day and Raitt together under a proscenium or in a camera frame and imagine that isn't inevitable. In the meantime the picture does its best to people the shop floor with comic foils for the leads, starting with the alternate couple that was compulsory in this kind of story: Hinesy (Eddie Foy Jr.), the time study man in charge of the shop floor, and his girlfriend Gladys (Carol Haney), Hasler's secretary.

The original musical was based on a 1953 novel, 7 cents, written by Richard Bissell, who based it on his time working for his family's Iowa garment business. When legendary Broadway producer/director George Abbott bought the book, Bissell co-authored the script with him, and went on to write another book, Say, Darling, about that experience.

The music was by two relative newcomers, Richard Adler and Jerry Ross, proteges of Frank Loesser who had their first hit with Tony Bennett's recording of "Rags to Riches" in 1953. It was also the first musical choreographed by Bob Fosse, who would work with Adler and Ross a year later on Damn Yankees.

This humble little production turned out to be star-studded: Jerome Robbins co-directed with Abbott, and Shirley MacLaine understudied for Carol Haney, taking over the role of Gladys when Haney injured her ankle, which led to MacLaine being scouted and signing as a contract player at Paramount. A London production opened in 1955, the same year that the show won Tony Awards for Haney and Fosse as well as best musical.

Writing about Day in The Movie Musical, Jeanine Basinger says that "after Love Me or Leave Me, she was always an actress who sang, and that ability to mold a dramatic force into her songs elevated her to the position she occupies today in retrospect: she's a legend. Her musicals are not throwaways. In The Pajama Game, she's Babe Williams, a hard-nosed working woman, and some of the grit and independence that had fueled Day's life was allowed to be seen onscreen."

If there was any major drawback to casting Day as Babe, it was how poorly John Raitt fares with her onscreen. Writing about the film in Considering Doris Day: A Biography, Tom Santopietro writes that "Raitt is handsome and masculine, and has a great voice, but he is very stiff on camera, hunching his shoulders and acting vaguely ill at ease, as if he's always looking for the camera in order to make sure he'll hit his marks."

Indeed, most of the original Broadway cast members look like they're trying far harder than Day, mugging and gesturing broadly. Santopietro is unimpressed with Haney in particular, writing that she "spends too much screen time screaming at her jealous boyfriend Hinesy about his knife throwing, indeed screeching at seemingly anyone in her path."

But she lit up the screen when she partnered Fosse for "From This Moment On", his big number in Kiss Me, Kate (1953), and when he cast her in a small dancing part for the Broadway production of The Pajama Game, she impressed Abbott so much that he created the role of Gladys just for her, and Fosse built two showstopper numbers around Haney: "Hernando's Hideaway" and "Steam Heat."

(When the show was revived in New York in 2006, the producers gave the number to the actress playing Mae, reasoning (not incorrectly) that Gladys wouldn't try to make Hinesy even more jealous by dancing with two other men at a union meeting, and in any case why would the company owner's secretary be at a union meeting at all?)

Assigned to come up with an amateur theatrical number for the union meeting, Fosse went to Adler and Ross, who said that they might have something, "but to be honest, it's just awful." They had written it as an exercise in response to a Frank Loesser song which Danny Kaye had turned into a novelty smash, "a big hit that went, 'Bloop, bleep, the faucet's dripping, and I just can't sleep,' so we tried to write one about noisy radiators and steam pipes."

It took five days for Fosse to create "Steam Heat" with Haney, Buzz Miller and Peter Gennaro (replaced by Kenneth LeRoy for the movie). It brought the house down on the opening night of the New Haven tryout, and George Abbott wasn't pleased, complaining that it stopped the show dead, though Robbins would insist that it remain. "The number is just too good," he said. "You can't throw it out."

But when Day was onscreen she more than justified the money Warners paid to cast her. Her Babe looks so good that it's easy to see why Raitt's Sid is willing to make his job a whole lot harder just to be with her, but it's her reprise of the number "Hey There" that seals the deal.

When Raitt sings it early in the picture it's the sound of a man unused to romantic rejection, cursing himself for allowing himself to be disappointed. ("Love never made a fool of you / You used to be too wise.") But when Day sings it alone in her room next to the railroad tracks after sending Sid away, insisting that he can't understand how important her work with union work is, it's imbued with the emotional resonance that was Day's secret superpower.

"Knowing that she had to cry during the song," Santopietro writes, "and feeling that this song constituted more of a dramatic scene than a song, Doris insisted on recording the vocal live, an unusual occurrence in a Hollywood musical. The gamble paid off. As with Barbra Streisand and her live recording of the 'My Man' finale to Funny Girl, the ensuing scene and the reprise of 'Hey There' gain in richness as a result. Day sounds terrific, and her vocal is every bit as good as the hit Rosemary Clooney recording of the same song."

But it's still hard to overlook how essentially strange The Pajama Game is, even in the context of Broadway's wildly imaginative golden era of the '50s and '60s. As Santopietro says "it's surely the only musical comedy in history to be centered on a union strike at a pajama factory" and "epitomized the brassy self-confident tone of Broadway and the United States in the '50s."

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