Wednesday 08 February 2012
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The Pajama Game

Competent performance let down by an odd choice of production

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While The Pajama Game may have impressed critics and audiences when it first graced the Broadway stage in 1954, it was apparent from the first act of Edinburgh University’s Footlights production last week that this is a production that has not stood the test of time. A mediocre story line predictable at every turn, juvenile slapstick comedy routines and numerous forgettable songs – it seemed an audacious choice for Footlights, yet one that they approached with admirable enthusiasm.

Set in the Sleep-Tite Pajama Factory, the plot follows the employees’ fight to gain a pay rise from their tight-fisted boss. Complications arise when charming new factory Superintendent Sid Sorokin (Ben Stewart) and head of the Complaints Committee Babe Williams (Julie Moot) come head to head over their conflicting agendas, paving the way for a troublesome love affair.

The star of the show is undoubtedly Moot, with her extensive vocal range and abundant confidence. Judged independently, Stewart gives a solid performance, yet when coupled with his female counterpart he is frequently overshadowed. Stewart’s vocals are more than adequate for most numbers; however on a few occasions a break in his voice left him struggling to maintain higher notes. The duet 'There Once Was A Man' is particularly uncomfortable as surprisingly both leads fail to master the difficult key changes and vocal slides.

'Steam Heat' is one of the few redeeming moments in the evening. Performed by the vivacious Nina Logue in the role of Gladys and two male members of the cast, the trio successfully execut the slick, sassy choreographic style central to Bob Fosse’s work. Unfortunately this precision is not maintained during 'Hernando’s Hideaway' as the polished technique demanded by the Tango is clearly beyond the capabilities of the majority of the cast.

When united as a group it becomes apparent that Footlights have potential far beyond the constraints of this weak musical. Luscious harmonies in 'Once-A-Year' and 'Seven-And-A Half Cents' demonstrate not only their expansive vocal talents but their ability to generate an excitement that ripples through the audience. Based on the generous applause accorded them, however, it is evident that Footlights have a loyal and supportive fan base that remains unperturbed by their unfortunate choice of show.

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