Feb. 24 (Bloomberg) -- Unlike pajamas, the musical ``The Pajama Game'' is all tops.

Walter Kerr described the original production of this flawless show as having ``a fresh and winning grin on its face from the outset.'' The Roundabout Theatre revival does have its bottom as well, but even so, it puts a fresh grin on a theatergoer's face.

The 1954 premiere of this Richard Adler-Jerry Ross musical was indeed nonpareil. Directed by George Abbott and Jerome Robbins, with choreography by the dazzling newcomer Bob Fosse and top-notch production values from a team that included a young Hal Prince, it had everything you could ask for, including an award- winning, career-making performance by Carol Haney that, unfortunately, has no analogue in the revival.

In a small Iowa pajama factory, the workers are fighting for a sorely needed raise of 7 1/2 cents, which the miserly owner, Hasler, would deny them. The union forces are led by the appropriately named Babe Williams; Hasler's chief though uneasy ally is the new supervisor, Sid Sorokin.

Babe and Sid fall in love at first sight, although she fears ending up on opposite sides of the labor-management conflict. A slowdown is initiated and a strike looms, whereupon Babe short- circuits a machine, which obliges Sid to fire her, thus threatening their romance.

Hernando's Hideaway

But besides this romantic couple, there are also two comedic ones.

One involves Hasler's assistant, Gladys, who carries around her neck the key to the boss's books, as well as an albatross boyfriend named Hines. A former circus knife-thrower, he is insanely jealous. The fur is always flying, but when Hines finds Gladys and Sid on a date at Hernando's Hideaway (Sid is trying to get the key by getting Gladys drunk), the knives are flying, too.

The other, even more amusing, couple comprises two workers, Prez and Mae, who provide some of the droll dance numbers. There is also Mabel, the sarcastic secretary.

``The Pajama Game'' has a full array of comic accoutrements on top of the ebullient Adler-Ross score -- their first major collaboration, soon to be followed by the equally successful ``Damn Yankees.'' The team's surviving member, Adler, has added a pair of pleasing new songs to the revival.

Presumably underfinanced, the new version is definitely understaffed and underdesigned, registering more as a touring than a Broadway show.

Connick Sings, Plays Piano

The pajama factory comes across rather like a sewing circle, and the gifted Derek McLane's scenery looks like the best that 7 1/2 cents can buy. The revisions of the book by Peter Ackerman, with references to ``On the Waterfront'' and Senator McCarthy, do not add much.

Kathleen Marshall's choreography (she also directs), even in the rare moments when it recalls Fosse's, falls well short of the original. But one scene, at Hernando's Hideaway, does achieve a rollicking bravura of its own, even if of a somewhat adventitious nature.

The casting is almost impeccable. Harry Connick Jr., as Sid, sports a hangdog expression and contemplates the floor too often, but he is handsome, sings splendidly and even throws in some uncalled-for but expert piano playing. Kelli O'Hara is a terrific Babe, as good as the wonderful Janis Paige of the original production, and much better than Doris Day in the movie version. Following her very different role in ``The Light in the Piazza,'' O'Hara establishes herself as the compleat, delectable musical- comedy heroine.

Dictaphone Duet

All the supporting players, with the exception of the hammy and charmless Megan Lawrence as Gladys (the Carol Haney role), distinguish themselves -- notably Peter Benson and Joyce Chittick as the hoofing Prez and Mae, and Michael McKean as the huffing Hines.

Martin Pakledinaz's costumes, save one too gaudy jacket for Sid, are apt, and Peter Kaczorowski's lighting is thoroughly versatile. Orchestrations by Dick Lieb and Danny Troob and arrangements by David Chase are likewise up to snuff.

And that score! It has wit, spice, originality, variety and a kind of tongue-in-cheek irony, even in the ballads. The show's most famous number -- ``Hey There'' -- is a duet Sid sings with himself on the Dictaphone.

``The Pajama Game'' is at the American Airlines Theatre, 227 W. 42nd St., through June 18. For tickets, call (1)(212) 719-1300 or see http://www.roundabouttheatre.org.

To contact the writer of this review: John Simon at jis1925@aol.com.

Last Updated: February 24, 2006 00:41 EST