REVIEW: The Pajama Game - 24 Hour Musical Project

The Pajama Game

Presented by: 24 Hour Musical Project

Venue: Hillbrook Theatre, Enoggera

What do you get when you combine over 120 creatives, 24 hours, a musical most people have never heard of, and a whole lot of chaos, caffeine, and community spirit? The answer is 24 Hour Musical Project – and what a glorious, hilarious, and heartwarming mess it was!

After a pandemic pause, this much-loved annual event made its triumphant return under the direction of Miranda Selwood and the new 24HMP Foundation Ltd., with Timothy Wynn at the helm as director. Hayley Gervais supported as assistant director, while musical direction was fearlessly led by Sally Faint with Jacob Cavanough and Hayley Marsh assisting. The lively choreography was courtesy of Hannah Crowther, assisted by Grace Clarke.

Let me explain, because I’ve had some non-theatre friends think I was watching musicals back-to-back for 24 hours (can you imagine?). The actual challenge is to fully produce and perform a full-scale musical in just 24 hours — from the show announcement to curtain call — but the purpose runs deeper. This project aims to unite as many performers, creatives, musicians, and volunteers as possible from all over South-East Queensland, all collaborating on a single, incredible goal. I spotted many familiar faces from performances I've reviewed, past productions I’ve been in, and even from the last 24 Hour Musical I saw before COVID (Starlight Express, anyone?!).

The twist? No one knows what show they’re doing when they sign up. The audition process is blind — performers don't know what they’re auditioning for, and the creative team casts the show without revealing roles. A shortlist of potential musicals is teased (thankfully Cats got yeeted early), and the cast only find out the show and their role at 6pm Saturday. The final shortlist had come down to Oklahoma! and The Pajama Game, and I, for one, was relieved when the lesser-known show won out. Without audience nostalgia clouding things, the performers could let the show’s quirky merits shine. Rehearsals run through the night, with some snatched naps, a whole lot of snacks and coffee, and 24 hours later… at 6pm Sunday, it’s showtime! There’s only one performance (because, hello, they need to sleep), and it always sells out — so get in early next time!

Based on the novel 7½ Cents by Richard Bissell, this musical is a toe-tapping romp through a pajama factory, exploring the tensions between management and labour, all while a romance blossoms between the fiery union leader (Babe) and the dashing new superintendent (Sid). Think Guys and Dolls energy meets union strikes and gender politics. This musical is from the 1950s, which means... it's long. Act 1 alone clocked in at over 90 minutes! The cast and orchestra had to learn a huge amount of material — vocally, musically, and choreographically — and I applaud them. I’d be far too delirious, grumpy, or hyper (possibly all three) to retain new songs at 4am, yet somehow, they did it.

Let’s take a moment to acknowledge the sheer size of this beast too: a cast of 30 and an orchestra of 20 — all volunteers, all saying “yes” to a mystery show and willingly sacrificing sleep, sanity, and personal space for a day of madness. Why? Because they’re legends, obviously. Featuring some of South-East Queensland’s brightest musical theatre talents, every role was well-cast and each performer clearly handpicked for their comedic strengths and vocal chops. Yes, I knew most of the cast. And yes, I'm biased. But also? They were phenomenal no lie.

Jacob Ballard was a perfectly cast Sid, his smooth Bublé vocals and confident stage presence anchoring the show. His three solos in Act 1 alone were a feast for the ears, and his chemistry with Kat Suschinsky's Babe made their duet “There Once Was a Man (I Love You More)” an absolute highlight. Kat brought sass, strength, and beauty to the role of Babe, and her rendition of “Hey There” in Act 2 was sincerely moving.

Ruby Thompson as Gladys was the standout for me. She was a triple-threat tornado of charisma, comedy, and dance chops — particularly in the iconic “Steam Heat”, which managed to be slick, sharp, and cheeky at once. Not only that but she has a gorgeous voice, as showcased in "Hernando's Hideaway" and many other numbers.

Aaron Anderson was a comedic firecracker as Prez — his sleazy charm delivered in spades, and excellent vocals as he led “Her Is” and the unforgettable “7½ Cents”. Samantha Sherrin brought effortless hilarity as Mabel, shining in her duet “I’ll Never Be Jealous Again” with the always-fabulous Tristan Vanyai as the high-strung, knife-throwing Hines, who led the elaborate number "Think of the Time I Save."

The supporting cast were a joy: Stacie Hobbs as Mae felt so at home in the role I had to wonder if she’d done this show before; Michael Enright made an adorably memorable Poopsie (yes, that is the character's name...); Russell Morgan had gravitas and great comedic timing as the blustering Hasler; and Luke O’Hagan brought delightful eccentricity as Babe’s stamp-collecting dad. A special shoutout to Lachlan Dodd, the stealthiest cast member of all, who voiced Sid’s inner monologue during “Hey There”. This male duet sung beautifully by Lachlan and Jacob's angelic voices, with Lachie hiding behind a set piece for many many scenes...

The ensemble work was smartly divided — a strategic decision, no doubt, to help ease the cognitive load. They nailed (to an extent) the challenging layered vocals in numbers like “Racing With the Clock”, and pulled off some surprisingly polished choreography in ensemble pieces like “Once-a-Year Day” and “I’m Not at All in Love”. And let’s talk about that choreography. With less than a day to learn, clean, and execute multiple full-company numbers, the dancing was genuinely impressive. By the final curtain, with the cast donning vibrant pajamas, it felt almost poetic that a show set in the ‘Sleep Tite’ factory ended with everyone mercifully getting ready to sleep tight themselves—many of whom looked just seconds away from collapsing into an actual nap (Zach).

Part of the joy of a 24 Hour Musical is expecting the slip-ups, and the cast did not disappoint—in the best way. Spotlights wandered, entrances were missed (Aaron) or mistimed (Russell), and props had a mind of their own, but it was all handled with the kind of good-natured improv and professionalism that proves these performers are top-tier. Whether it was a not-so-subtle glance at the teleprompter (a true unsung hero) or a quick cover for a rogue prop, it only added to the charm. Special shoutout to MD Sally Faint literally mouthing all the song lyrics from the orchestra like a musical guardian angel.

The production team also deserves massive applause. The set had the orchestra elevated behind a giant “Sleep Tite” window, flanked by sewing tables and fabric racks. Props were entirely cardboard (genius), and the hand-drawn backdrops did the job. Lighting by Jason Gardner and sound by Ben Murray were smooth and effective, even with the frantic pace. Costumes by Michelle Peloe, Carly Quinn, and Alexander Ellem were colourful and delightfully vintage — especially the finale’s pink and yellow PJs, a sweet nod to 24HMP’s brand colours. They also had those classic bouncy 50s hair curls, and I am genuinely baffled by how they found time to pull that off. Respect.

Despite the inevitable exhaustion, the energy was electric. What they lacked in rehearsal time they made up for in sheer guts, caffeine, and group chemistry. The cast may have been running on adrenaline and sugar (Kat’s bright blue tongue in the finale was all the proof we needed), but they poured every ounce of love, talent, and humour into the show. And the audience felt like part of the ensemble—my cheeks genuinely hurt from laughing so much. It was one of the most supportive, joy-filled theatres I’ve sat in all year.

Beyond the fun and frenzied energy, the heart of this project lies in community. In a time where many companies struggle with resources, burnout, or disconnection, this project actively fosters cross-company collaboration and trust. It’s not just theatre—it’s therapy, teamwork, and a celebration of what’s possible when creative people come together for something bigger than themselves. What truly blows my mind is the iron-clad structure behind the chaos—this isn’t just a group of people pulling something off on vibes alone. There’s clearly an enormous amount of pre-planning from the creative team, tech crew, volunteers, and everyone in between. Their meticulous prep work allows the performers to shine despite the lack of time. Honestly, I wish every community show was run like this. From the slick rehearsal scheduling, to the online raffle with genuinely awesome prizes, to the professional-quality program, there was a sense of care and forethought that felt beyond compare.

If you’ve ever wondered what you’re capable of, or wanted to meet the people who make up Brisbane’s incredible theatre scene, I genuinely recommend throwing your hat in the ring next time. Whether to perform, play, volunteer, or just cheer from the audience—you will leave with a full heart. I ran a little Instagram poll and over 60 of my followers said they’d love to try the 24HMP challenge one day! Meanwhile, I’ll be cheering from the comfort of the audience, coffee in hand, watching the sleep-deprived chaos unfold with glee—laughing and cheering louder than ever. 24HMP… can I request Spamalot for next time?

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