Alder & Ross: The New Boys in Town

adler-and-rossOf all the great songwriting teams that have flourished on Broadway, none appeared so unexpectedly, burned so brightly and vanished so quickly as that of Richard Adler and Jerry Ross.

Adler and Ross had only two big hits—but, to be fair, they wrote only two shows: The Pajama Game and Damn Yankees. Their initial success was due to the support of one of the most prominent men of mid-century Broadway—composer-lyricist Frank Loesser, a great songwriter and a shrewd businessman.

After his triumphant 1950 musical Guys and Dolls, Loesser decided to build his personal publishing house, Frank Music, into a real competitor to the established firms that dominated the music business. But to do that he would need product, not just his own songs but those of up-and-coming, unaffiliated writers—talented youngsters he could put under contract, then publish and promote their songs.

In the early 1950s, aspiring tunesmiths peddled their wares in the Brill Building, the hub of the songwriting trade. They would spend their days taking their songs from office to office, floor to floor, looking for a receptive ear. When they needed a smoke they hung out on the sidewalk at Broadway and 49th Street—what they called The Beach— where they would swap stories and gripe about the music racket.

That’s where Richard Adler met Jerry Ross.

They were both young, they liked each other on sight and decided to try collaborating. They both wrote words and music, although all Adler could play was a toy xylophone.

One of their early efforts was a novelty about the hissing and clanging of a steam radiator:


Well, they knew this was a masterpiece, so they shopped it to Mitch Miller, the song chief for Columbia Records. He listened patiently and said, “Boys, save it for a show.”

That was Miller’s way of saying, “It’s crap.”  But, unintentionally, Miller was partly right. Adler and Ross’s songs were theatrical, more situation-specific than the usual Tin Pan Alley product.

And that stage instinct was what caught the attention of Frank Loesser—that and the chart success of their first solid record hit: Tony Bennett’s “Rags to Riches,” which sold over two million copies.

Loesser wasted no time. He “collected” the boys for his stable of writers and soon placed a couple of their songs in a now-forgotten Broadway revue. Their work was dismissed as “routine,” but Loesser believed in their talent and continued to mentor them in the art of theatrical song writing. After a few months Frank called them into his office and said “I think you’re ready to write a real show.”

He brought in director George Abbott, the veteran hitmaker whose motto was “LOUDER, FASTER, FUNNIER!”  Abbott said, “Boys, I have a property I’m going to direct. It’s about a strike in a pajama factory. I know it doesn’t sound like Rodgers and Hammerstein, which is why they’re not writing the score.”

The show was The Pajama Game, and “the boys” finished the songs in five weeks.

And it wasn’t a Rodgers & Hammerstein show, it was a musical comedy. But it was a rational musical comedy, in the new “musical play” style, with a few elements thrown in “just because”—for example, an irrelevant novelty (their old trunk song “Steam Heat”) which became a legendary showstopper.

The Pajama Game was a show about real, everyday people, the kind of folks you’d meet on the job or at the ball game. Audiences saw themselves on stage, and responded with gusto. It had a pop score; the songs sounded like current jukebox hits, which many of them became: “Hey There,” “Hernando’s Hideaway,” even “Steam Heat.” The Pajama Game established Adler and Ross as 1954’s most promising new team, and they delivered on that promise one year later with Damn Yankees, the Faust legend translated into the world of pro baseball.

Like The Pajama Game, Damn Yankees won the Tony for Best Musical. It gave the Broadway Songbook a few more standards: “Whatever Lola Wants, Lola Gets,” the locker room anthem “Heart” and the slithery duet “Two Lost Souls.”

It’s hard to imagine Adler and Ross adapting their Hit Parade style to a period show, or adjusting to the new sound that would take over the record charts in 1956: rock ’n’ roll.

But we’ll never know. Jerry Ross suddenly died in November 1955 from a lung disease that had been dormant since childhood. Richard Adler continued to write musicals and pop songs, but he never found a partner to reignite his writing talent and ended his career as a successful producer and director.

By ALBERT EVANS, Artistic Associate

Meet the Factory: Mae and Pop

As we ramp up to the sexy, steamy production of The Pajama Game, we’re taking this opportunity to introduce you to the members of our fantastic cast. Or, as we’ve come to know them, the workers at the Sleep-Tite Pajama Factory.

Stay tuned over the coming weeks to learn more about each worker in our factory.

????????????????????????????????????Allen Galli (Pop)

Stepping in as Babe Williams’ father Pop is Allen Galli. Allen is returning to our stage after appearing at The 5th in the dual role of Twimble/Wally Womper in last season’s production of How to Succeed… Other 5th Avenue credits include Rusty Charlie in Guys and Dolls, Mike in White Christmas, Krupke in West Side Story and Moonface in Anything Goes! Allen has also appeared locally at Seattle Rep, SCT, ACT, Intiman, Village and PNB. His regional credits include Arizona Theatre Company and Cincinnati Playhouse in the Park, and TV credits include GrimmFrasier and cult classic Twin Peaks.

pg_taryn-darr-webTaryn Darr

Portraying Sleep Tite Pajam Factory worker Mae is Taryn Darr. Taryn is a veteran of The 5th. She was seen last year on our stage in…you guessed it, How to Succeed… as well as our revisal production of Lerner and Loewe’s Paint Your Wagon. Some of her favorite roles at The 5th over the past 16 years include: A Chorus Line (Val), White Christmas (Judy), Jasper in Deadland (Secretary Hathaway), ElfCatch Me… and Spamalot. Taryn has been seen regionally in Chicago (Roxie), South Pacific (Nellie), Legally Blonde (Brooke) and in the NYC lab of Something Rotten. Find out more about Taryn at her website.

The Pajama Game is directed by our own Producing Artistic Director Bill Berry, and runs February 10 through March 5. To find out more and to purchase tickets, click here.

Enter the Steam Heat Coloring Contest

Check out all of the pieces of our Steam Heat Coloring Contest with The Seattle Times! Print and color the pieces yourself, and be sure to submit your entires by 6 PM on Tuesday, January 31 for your chance to win a fantastic prize pack (including treats from our partners at Inn At The Market and Purple Cafe and Wine Bar)!

Click on the pieces to be linked to a printable version.






Spotlight on Beatsville

Beatsville, written by Wendy Wilf and Glenn Slater, appeared in the 2008 NAMT Festival. The show is now preparing for its world premiere in a co-production with NAMT member The 5th Avenue Theatre and Asolo Rep Theatre. This month, we caught up with the writers to hear about the work they’ve done on the piece since the Festival leading up to this premiere.  Originally printed in the NAMT New Works News.

What was the response to Beatsville like after the 2008 Festival?
We had a great Festival—our cast was spectacular, and made the show look fantastic—and we received a hugely gratifying outpouring of interest from various theatres and organizations who wanted to help us take the next step forward. We sort of fumbled the ball a little—we felt that we still had some writing to do, and weren’t sure what that next step should be, and then we got swept up in other projects. Luckily for us, when we were finally ready to move forward, there was still a lot of goodwill in the community from people who remembered it from the Festival, and they proved instrumental in helping us get the show back on track.

What work have you all been doing on the show since presenting it to the industry? Did the presentation at the Festival inform any of that work?
The version of the show we presented at the Festival stuck very close to our source material, and what we discovered there was that although that source was definitely a strong basis for a stylish musical, there wasn’t enough story to make it a satisfying evening. Through the Festival, we were invited to see a student production of the show at the Musical Akademie in Denmark—translated into Danish! We didn’t understand a word of it, but that actually helped us focus strictly on the architecture of the piece, and we realized that we needed to drastically re-think how the last two-thirds of it were structured.  We next spent some time at the Rhinebeck Writer’s Retreat and a retreat at the Weston Playhouse in Vermont (again, both opportunities that stemmed from the Festival), where we broke the show into pieces and tried to figure out how to put it back together. It was in Weston that we had our big “aha!” moment, and we tested the result in another student production, this time at NYU Steinhardt (yet another Festival connection!). There, director John Simpkins was monumentally patient as we overhauled huge chunks of the show in rehearsal (we completely rewrote the last twenty minutes just two days before our first performance). We brought the resulting version to the 2014 NextFest at The 5th Avenue for a 29-hour reading, and while working there with Director Bill Berry realized that together, we had finally found both the right shape for our show, and the right home for it.

You’re preparing for Beatsville’s world premiere in a co-production with Asolo Rep and The 5th Avenue. What has that process been like, and what does your partnership with those two theatres look like?
We feel incredibly lucky to have two theatres standing with us on this. It means that we get to take advantage of the wisdom and experience of two fantastic creative staffs, each of which have unique viewpoints to share—Michael Edwards, at the Asolo Rep, has been the “big picture” thinker, challenging us to take bold strokes in re-thinking who our characters are, while David Armstrong and Bill Berry at The 5th have been instrumental in helping us tighten, streamline and polish each moment. It also takes some of the pressure off of us; knowing that we will definitely have two productions within a short time span means that we can afford to take some risks and do sweeping rewrites at the Asolo, since we’ll have a chance to consolidate what we learn at The 5th. Finally, having the resources of two theatres has been a godsend – we’ve been able to conduct not only 29-hour readings, but numerous table readings and a three-week lab as well, all of which have gotten us closer and closer to where we need to be.
What have been some of the joys and challenges for you as a writing team as you’ve continued to develop the piece?

We’re not just a writing team—we’re also married, with two school-age kids, and by far the biggest challenge for us has been counterpoising our artistic partnership with our home life; separating writing time from family time is always a delicate balancing act, as is maintaining our very different individual voices while also speaking for each other in both the rehearsal room and civilian life. Any good writing team gets at least some of its spark from arguing and clashing; we have to be especially careful not to let that kind of adversarial energy leak into our “real life.” But that’s also part of the joy for us—the alive-ness that we feel when we work on this piece also infuses our marriage, and having a shared dream makes every step forward extra sweet. In some ways, the show is like our third child. (Shh, don’t let our boys hear that.)

Why should people get excited about the upcoming chances they’ll have to see Beatsville?
Beatsville drops you into the bohemian world of Greenwich Village’s beatnik scene, sets your neurons vibrating to a fresh, frantic be-bop score, and does it with a wickedly dark satirical edge that literally draws blood. It’s a gas, it’s the most, it’s right-on…and even after all the time we’ve spent working on it, there still isn’t any other show that sounds or feels quite like it.

Meet the Factory: Strikers and Scabs

As we ramp up to the sexy, steamy production of The Pajama Game, we’re taking this opportunity to introduce you to the members of our fantastic cast. Or, as we’ve come to know them, the workers at the Sleep-Tite Pajama Factory.

Stay tuned over the coming weeks to learn more about each worker in our factory.

Richard Peacockpg_richard-peacock-web

Richard recently returned from Tucson where he was a featured dancer in Fiddler on the Roof at the Arizona Theatre Company. You may have seen earlier this season at The 5th in Man of La Mancha, last season in How to Succeed…, or in A Christmas Story and A Chorus Line.

pg_paul-flanagan-webPaul Flanagan

Like many of our motley crew, Paul was in our production of How to Succeed… last season. Or perhaps you saw him in our revisal production of Lerner & Loewe’s Paint Your Wagon, or in one of his numerous previous roles at The 5th. He was also recently in SCT’s production of The Lion, The Witch and The Wardrobe. Find out more about Paul at his website.

McKayla Marsopg_mckayla-marso-web

McKayla was also seen last season in our production of How to Succeed…, and earlier last season in The Sound of Music. Other 5th Avenue credits include A Christmas Story and A Chorus Line. She’s also been out on the road several times in National Tours of Monty Python’s Spamalot and The Wizard of Oz.

pg_lauren-du-pree-webLauren Du Pree

Lauren graced our stage earlier this season in Man of La Mancha and was part of the steno pool last season in How to Succeed… She’s been seen regionally at Village Theatre, Kennedy Center, Ford’s Theatre and Signature Theatre. Lauren has also been seen on TV in Biz Kid$. Find out more about Lauren at her website.

Ryan Patrick Kellypg_ryan-patrick-kelly-web

Ryan is making his 5th Avenue debut with The Pajama Game! Ryan performed on Broadway in Wicked, and has been seen regionally in productions of Cats, Music Man, Sweet Charity and Pippin. He’s performed in a Radio City Christmas Spectacular and at Tokyo Disneyland. Film and television credits include Smurfs, Across the Universe, Saturday Night Live, Jimmy Fallon, Two and a Half Men, Mozart in the Jungle, America’s Got Talent and Nurse Jackie.

pg_carolyn-willems-van-dijk-webCarolyn Willems Van Dijk

Carolyn is returning to The 5th after having previously trod the boards in productions of Paint Your Wagon, The Sound of Music, ELF, Oklahoma! and Cinderella. She received a BFA from the University of Oklahoma.


The Pajama Game is directed by our own Producing Artistic Director Bill Berry, and runs February 10 through March 5. To find out more and to purchase tickets, click here.

Steam Heat Coloring Contest

In partnership with The Seattle Times, we are presenting our annual coloring contest. This year’s theme: Steam Heat! Check out the information below about what to do and how to enter to win some of the fantastic prizes. Plus, pick up the first piece of the contest! You can win a date night out at The 5th by entering! Look for the pieces every week day beginning today, with the final piece and entry form in the Sunday edition of the paper! Color all the clothing pieces and the paper dolls of Sid and Babe and send them in for a chance to win!

A big shout out and thank you to our partners at The Inn At The Market and Purple Cafe and Wine Bar for their generous additions to our prize pack!

coloring-contest-rules babes-pajama-top

Meet the Factory: Operators and Stitchers

As we ramp up to the sexy, steamy production of The Pajama Game, we’re taking this opportunity to introduce you to the members of our fantastic cast. Or, as we’ve come to know them, the workers at the Sleep-Tite Pajama Factory.

Stay tuned over the coming weeks to learn more about each worker in our factory.

pg_trina-mills-webTrina Mills

Trina was seen at The 5th last season in Lerner and Loewe’s Paint Your Wagon and How to Succeed… Other 5th Avenue credits include West Side Story, A Chorus Line, A Christmas Story, RENT, ELF and Spamalot. Trina is a native Seattleite who earned her BA in acting from WWU. She is pulling triple duty in this production; in addition to her role in the ensemble, Trina is also the Associate Choreographer and the Dance Captain.

pg_katherine-strohmaier-webKatherine Strohmaier

Katherine is returning to The 5th after having last performed on our stage as Sarah Brown in Guys and Dolls, among others. She has worked regionally at Village, SCT, Showtunes, Harlequin, Milwaukee Rep, Seattle Symphony, Pasadena Pops and Opera de Rennes. She is a soloist with pianist Peter Nero, and an instructor at Cornish.

pg_emily-ann-johnson-webEmily Ann Johnson

Emily made her 5th Avenue debut as a performance intern last season in How to Succeed… Regional credits include Village Theatre, SecondStory Rep, Leavenworth Summer Theater (where she was Kathy in Singin’ in the Rain) and others. To find out more about Emily, visit her website.

molm_davione-gordon-webDavione Gordon

Most recently, Davione was on stage at The 5th in our production of Man of La Mancha earlier this season. Prior to that, he made his debut at The 5th in Carousel the season before. Davione has been part of the company at Spectrum Dance Theater for four seasons, and is a native of Fort Washington, Maryland.

Aaron Shanks

Like many of our amazing cast members, Aaron was part of the How to Succeed… cast last season. He was also in Lerner and Loewe’s Paint Your Wagon last season. Other 5th Avenue credits include A Christmas Story, Carousel, Oliver! and Pirates of Penzance. Aaron has worked regionally at Village Theatre, Seattle Children’s Theatre, Showtunes Theatre and Spectrum DAnce Theatre.

pg_greg-stone-webGreg Stone

Greg is no stranger to The 5th. You may have seen him in Pirates of Penzance, Music Man or Titanic in Concert. Greg has been seen on Broadway in Les Misérables, Oklahoma!, Urban Cowboy and The Pirate Queen. He toured extensively with Les Misérables as Jean Valjean and as Chris in Miss Saigon.


The Pajama Game is directed by our own Producing Artistic Director Bill Berry, and runs February 10 through March 5. To find out more and to purchase tickets, click here.

Fostering and Supporting New Works with NextFest


This past October, The 5th presented NextFest, its second annual Festival for New Works. Eleven new projects were introduced during the three week festival, at varying levels of evolution, from cold table reads and writing intensives to week-long workshops complete with writers, actors and creative members working together to revise and improve new musicals.

Richard Andriessen, Andrew Russell and Marya Sea Kaminski working on The Rumble Within.

Three of the works at NextFest (The Long Game, The Rumble Within and Anybody Can Do Anything) emerged from another new works initiative, our inaugural Seattle Writers Group, which is a two-year program providing six writers the opportunity to attend bi-weekly meetings to share and discuss their work in progress.

Some photos from Week 1 of NextFest.

NextFest also featured a writing intensive and table read of a new commission for The 5th’s education program, Adventure Musical Theater Touring Company (AMT). Free Boy, based on the book by Seattle historians Lorraine McConaghy and Judy Bentley, tells the true story of Charles Mitchell’s harrowing escape from Washington Territory in 1860 through the Canadian Underground Railroad. In a more immediate sense, the work completed on Free Boy during NextFest will be seen in spring 2017 when it is performed by AMT in elementary and middle schools throughout Washington State.

Planning and organizing while working on new musicals sometimes takes up an entire wall.

“The 5th is committed to making sure that future generations will be able to enjoy relevant and compelling musical theater,” said Producing Artistic Director Bill Berry. “This year’s festival celebrates the richness and breadth of storytelling that is possible in musical theater.” For The 5th, the development and initial support of new works is just as important as the end product. Without the support and freedom to fully investigate and intensively examine these new works throughout the entirety of the creation process, they would never progress to the point of being ready to present on a stage.

Our inaugural cohort of the 10-Minute Musical Project.

It’s also imperative to engage and instruct the next generation of writers and artists in all stages of musical development, which is why The 5th was proud to present the result of the inaugural 10-Minute Musical Project, a new education program. Designed for students ages 14 to 19, the program aims to empower local teens and support their future achievement by introducing them to the crafts and skills associated with songwriting, book writing, directing and the workshop process. Students participated as book writers, composers, lyricists, directors, music directors, stage managers, actors, marketing administrators and photographers/videographers. Following several months of work during the summer, these students culminated their program with a presentation of four original works at NextFest. To read more about the 10-Minute Musical Project, please visit:

All of the cast and creative team members who worked on The Crazy Ones, one of the new works presented at NextFest.

NextFest is not currently open to the general public. Festival passes are a benefit of an Artist’s Circle Membership, offering access to behind-the-scenes interviews with writers, sneak peeks, special concerts, cocktail events and panels. To learn more about Membership before next year’s NextFest, please contact Development at (206) 625-1418.

To learn more about these and other musicals, please visit:

The History of Pajamas

By JORDAN LUSINK, Communications Coordinator

When you think of pajamas, probably the first think you picture is the two –piece model, with a buttoned and collared shirt and matching drawstring bottoms. Perhaps something like this:


While the term “pajamas” has become something of a catch-all to refer to any type of sleepwear, that word wasn’t part of the English vernacular until the early 1800s. In fact, it’s origins specifically referred only to the pants portion of sleepwear. The worldwide use of pajamas (the word and the clothing) began in the late 18th and early 19th century as a result of British colonization in India. The word “pajama” first appeared in the English language with the spelling “pyjama,” adopted from a Bengali word (which was adopted from the Persian word “paejama”) for leg-garments. The word referred to loose, lightweight pants, usually with a drawstring waist which were worn by Muslims in India. Along with the term, Europeans adopted the style as well, though initially for lounging rather than sleepwear.


This adoption was made possible by the technological advances that were made in the early 19th century. In 1829, the first practical and widely used sewing machine was created by a French tailor. In conjunction with the advent and increased use of sewing machines, the traditional Muslim pajamas became much easier to make. In fact, all types of sleepwear became possible, and they gradually became more diverse and intricate.

Until the advent of the sewing machine, sleepwear was focused on function over fashion. Essentially before that point, everyone wore shapeless and colorless nightshirts and nightdresses. Most of these were made with white linen. The purpose for this was mostly practical; in addition to being easier to produce via hand sewing, the plain sleepwear simplified the laundry process, and linen absorbs body oils and perspiration. Laundry was a time consuming and difficult process, often using harsh chemicals. Colored dyes wouldn’t have been able to survive the constant boiling and bleaching, not to mention that night clothes were not worn publicly, so why waste time, effort and resources?


Once the Muslim style of pajamas was adopted, it quickly became a staple of the male wardrobe. Both two-piece pajama sets (as we often picture) and union suits were versions of this more close-fitting approach at sleepwear. The union suit, named for its use by Union soldiers during the Civil War was what we might today term long johns. It was a one-piece knitted thermal undergarment that covers legs and buttons in the front. Women also wore the union suits, as you can see in this Lewis Union Suit ad from 1898.


While nightgowns still continue to be popular for women as sleepwear today, the trend away from the nightgown and towards the two piece pajama set and a more tailored approach was solidified by the 1920s. Here’s an example of Ginger Rogers wearing “lounging pajamas” in the 1940s.


In the early- to mid-1900s, the union suit idea was adapted specifically for children into what were called blanket sleepers (or footie pajamas, as we might know them). While the union suit would often have shorter legs and no sleeves, blanket sleepers offered full coverage, often adding jiffy gripped foot coverings and drop seats (aka the butt flap). For most of the early twentieth century, they were manufactured exclusively by Doctor Denton Sleeping Mills, and were marketed as “covers that can’t be kicked off.” While their popularity waned a bit in the 1960s and early 1970s, they got a boost in the later 1970s and early 1980s due to the energy crises. Advertisements from that time often emphasized that thermostats could be set lower at night when children used blanket sleepers.


Housecoats and bed jackets were also popular in the 1940s, over both two-piece pajama sets and nightgowns, and were frequently designed with “kangaroo pockets,” allowing women to grab and stash a few important things should she have a need to leave her house unexpectedly in the middle of the night.


While there are many options for your sleepwear needs, we recommend you consider the wise words from The Pajama Game about the good old-fashioned two-piece pajama set:

Married life is lots of fun,
Two can sleep as cheap as one.


Meet the Factory: Time Study Guys and Union Gals

As we ramp up to the sexy, steamy production of The Pajama Game, we’re taking this opportunity to introduce you to the members of our fantastic cast. Or, as we’ve come to know them, the workers at the Sleep-Tite Pajama Factory.

Stay tuned over the coming weeks to learn more about each worker in our factory.

pg_eric-ankrim-webEric Ankrim

You may have seen Eric earlier this season as the Duke in our production of Man of La Mancha. Or perhaps you saw him last season as J. Pierrepont Finch in our blockbuster production of How to Succeed in Business Without Really Trying, also directed by Bill Berry, or in our revisal production of Lerner & Loewe’s Paint Your Wagon. Other 5th Avenue credits include Jacques Brel…, Carousel, First Date, Oklahoma!, RENT, Into the Woods, The Rocky Horror Show and Miss Saigon.  Eric also returned to the role he originated in First Date on Broadway. In addition to being a Sleep-Tite Pajama Factory worker, Eric is also serving as the Associate Director of this production.

Kevin Vortmannpg_kevin-vortmann-web

Kevin makes his 5th Avenue debut with The Pajama Game! He’s had an extensive career on Broadway and Off-Broadway, including A Little Night Music, Most Happy Fella, Juno, On the Town, Lost in the Stars, Applause, Fiorello!, Stairway to Paradise and Paint Your Wagon. Kevin has been a soloist with the Philadelphia Orchestra, the San Francisco Symphony, the Baltimore Symphony, the New York Philharmonic and Omaha Symphony.

pg_matthew-posner-web Matthew Posner

Many of our amazing How to Succeed… cast members are returning for The Pajama Game, and Matthew is one of them. In addition to How to Succeed… last season, you may have seen him previously at The 5th in Damn YankeesPirates of Penzance, Secondhand Lions, Oliver! and A Christmas Story. He’s also been seen at Village in Show Boat, Fiddler on the Roof and Billy Elliott. His tour/regional credits include Camelot and Les Miserables, and also has a prominent voice over career. You can hear his voice over work at!

pg_hannah-schuerman-web Hannah Schuerman

Hannah is returning to The 5th after making her mainstage debut in Rodgers and Hammerstein’s The Sound of Music last season. Hannah recently graduated from Seattle Pacific University.

Jasmine Jean Simpg_jasmine-jean-sim-web

Jasmine is also making her 5th Ave debut! However, you may have seen her around town: she is a member of ACT Theatre’s Core Company 2016, and has been seen regionally in Dangerous Liaisons, Winter’s Tale, Bonnie & Clyde, Stupid F*cking Bird, 9 to 5 and A Christmas Carol. Find out more about Jasmine at her website.

pg_alexandria-henderson-webAlexandria Henderson

Like Eric and Matthew, Alexandria is returning to The 5th after appearing in How to Succeed… last season. Other 5th Avenue credits include Little Shop… and Hairspray in Concert. Regional credits include Stardust Christmas Enchantment with Harlequin, Working with Seattle Musical Theatre, Hairspray with Twelfth Night Productions and The Wiz with Tacoma Musical Playhouse.

The Pajama Game is directed by our own Producing Artistic Director Bill Berry, and runs February 10 through March 5. To find out more and to purchase tickets, click here.