Jackie Cochran: first female pilot to break the sound barrier; ambitious individual in the face of prejudice and set-backs; woman suffering the nightmarish memory of her first childs death and subsequent repeat miscarriages. The facts make for an inspiring and moving story, and Pepperdine Universitys theatre company seize on them energetically in Karen Sundes The Fastest Woman Alive. However, whilst the companys interpretation of the play, their dramatic style and most performances are highly polished, the production is let down by a monotonous tendency. Pepperdines cast often shows itself as uniformly strong; the pacey action is full of committed performances. Lauren Randol is unfaultering in her presentation of the steely Cochran, and remains convincing at the moments where her characters guard comes down. The fourteen-strong supporting cast are competent; they occupy the stage for the shows duration, as focused in their joint role as attentive listening chorus as in their character roles. Haven Nutt stands out as Cochrans mother and is memorable amongst the group of WASPs (Women Airforce Service Pilots). Josh Downs portrayal of Eisenhauer proves popular with the audience, and his other characters are clearly defined. There are a couple of weaker links though; Charlotte Ubben lacks commitment as Amelia Earhart, Cochrans idol, and Morgan Baders portrayal of Floyd Odlum - Cochrans supportive husband - is (perhaps inevitably) a little melodramatic when set against Randols cool Cochran.The execution of the piece is militaristic; blocking is forever tight and transitions between vignettes always certain. The casts discipline seems to highlight one of the plays central claims: the WASPs failure to gain military status in the 1940s was not based on a lack of professionalism or discipline, merely prejudice. However, whilst the sharp style is impressive and necessary for the plays pace, it can be overt at times, and throws into relief sections which aim to break away from the steely mood. The company tries too hard to create moods beyond this default, using acapella as a background to moving sections. Whilst appealing at first, the song later markedly indicates what we should be feeling at certain points - and we do not necessarily comply.Such bluntness is matched by the plays examination of gender politics; the piece often seems to resort to an obvious divide between goodie determined women and the baddie men halting female domination, which can make characters appear two-dimensional. So, Pepperdines show is excellent in many respects, but both the cast and play sometimes march forward with so much gusto that things become relentless, and the genuinely moving details which certainly lie in both are masked.