The Pajama Game: Cast Interview with Allinee NeGron

UB Theatre and Dance’s annual spring musical “The Pajama Game” opens for a two-week run at UB Center for the Arts, from April 25 – May 4, 2025. Get best seats early at: https://www.ticketmaster.com/search?q=ub%20center%20for%20the%20arts%20pajama%20game

A Clarence, NY native, junior music theatre major Allinee NeGron plays Babe “Catherine” Williams, the leader of the Union Grievance Committee at the Sleep-Tite Pajama Factory, who falls in love with Sid Sorokin, the new factory superintendent, despite their being on opposite sides of the labor dispute central to the plot.

NeGron’s favorite credits include Ella (Cinderella, Historic Lockport Palace Theatre), Mother (Renascence, UBTHD), Katrina Van Tassel (The Legend of Sleepy Hollow, UBTHD & WBFO), Mother (Coraline The Musical: WNY Regional Debut) and Lorraine/ensemble (Jersey Boys - WNY premiere, Historic Lockport Palace Theatre). @allineenegron

What first made you want to become a performer, and when did you first begin to appear on stage? Is anyone else in your family artistic?

I first knew I wanted to be an artist, and more specifically a performer when I was really young. I’d say I knew around kindergarten. I’ve been dancing since I moved to New York at age 2, and funnily enough my dance recitals were held right here at the Center for the Arts. I have two older brothers that both did theatre throughout middle and high school, and I fully believe that seeing them on stage paved the way for me to get into the arts and fall in love with performance.

What's been one of your favorite experiences on stage?

One of my favorite experiences on stage was being in two different productions of Rodgers and Hamerstein’s “Cinderella.” The first being in the ensemble of UBTHD’s spring production in 2023, and the second playing the titular role (Ella) at The Historic Lockport Palace Theatre in March of 2024. Getting to see the show from entirely different perspectives and being able to fully understand the world from all angles was something I’ll always treasure. I can confidently say that Cinderella is one of the shows that’s formed me into the performer I am today. 

How difficult or easily do you find it to memorize dialogue, songs, melodies and then incorporate them with the choreography?

Throughout my college career it’s gotten increasingly easier to memorize my materials and incorporate them into choreography as well as blocking. Creating a system of how to memorize and work through the show on my own time has been very important, but I do believe that growing my overall confidence in my craft through the years has really helped with this as well.

Do you ever experience nerves before you perform? If so, what do you do to help control them? And / or what's your day-of-show routine like before the lights go up?

I do still get nervous yes, but I feel that’s a healthy response to adrenaline before going on. My day-of-show routine really centers around listening to my body, mind, and what I need to put out the best performance possible. However, I do of course have my little pre-show rituals such as my vocal warm up, stretching, drinking tea and water (room temp), using my vocal nebulizer, etc.

Have you watched the movie version of "The Pajama Game" from 1957? If so, what do you think of it? Does Doris Day's performance as Babe in any way inform your own?

I have watched the film, yes! I do enjoy the film, but I’ve gotta say it is very different from the musical. I adore Doris Day, and I think the part of her performance that I’ve strived to bring out in my own interpretation of Babe is her confidence. Anytime I’m playing a role, I do my best to give my own take and not perform it the same as anyone else. However, that quality is one that I truly admired in her iteration.

"The Pajama Game" novel ("7 1/2 Cents"), musical and movie all came out in the 1950s, a time only older Americans would remember. Is UB's production modernized, or is it set in the 1950s like the original?

While “7 ½ Cents” still takes place in the world of the 1950’s, UB’s production puts the price points in perspective of modern day, so that the audience better understands the importance of the raise the factory workers are fighting so hard for, and so they can relate to / feel in on the excitement!

How would you describe the dialogue, songs and choreography in this show compared to what we see in modern musicals? To what extent is the show relevant to contemporary audiences?

This show is the definition of a 1950s original screwball comedy. You truly get to live in the world of Sleep Tite, meet new characters, and fall in love with the loveable misfits. I think most modern musicals being derived from well-known source materials (i.e. the “jukebox musical”) has the audience coming into the show knowing what to expect and what the storyline will be, rather than experiencing something entirely new. However, the storyline is still incredibly relevant in today's political climate especially, and audience members can relate and take away the overarching message of the story. 

Who are some of your favorite performers, either from the music theatre world, or just in general? Why?

Some my favorite performers would be Sutton Foster and Meghan Hilty. Both women are successful powerhouse performers who have created illustrious and fulfilling careers for themselves. Their drive has gotten them extremely far, and that’s something I aspire to have.

Aside from "The Pajama Game," is there a 'dream role' which you've always wanted to play? If so, why?

My ‘dream role” would hands down be Inga in Mel Brooks’ “Young Frankenstein.” I remember very clearly, I saw a production of the show around 2016, and ever since I have been in love with her character. She’s hilarious, beautiful, confident, AND gets to yodel. Like… that’s the dream. Honorable mention that falls into a similar category for me would be Ula in “The Producers.”

Do you have a sense of what you'd like to do after graduation next year, or is it too early to say?

Post grad I’d love to audition around in the Buffalo theatre scene at first, as well as out-of-state companies. However, I do intend to attend esthetician school locally and eventually work my way up to work in a salon. Ideally, I’ll be able to save up and eventually make the move to the city. I’m a dreamer with big plans. “Do the work. You are its only Judge. Now do the work.” (Smith)